CATALOGUE    OF 


THE    LOAN    EXHIBITION    OF 


DRAWINGS  &  ETCHINGS 
BY  REMBRANDT 

FROM  THE 

J.PIERPONT   MORGAN 

COLLECTION 


WITH  A  PREFACE, 

BIBLIOGRAPHY®  EXPLANATORY  NOTES 

BY  J.  NILSEN  LAURVIK,  DIRECTOR 

THE    PALACE    OF    FINE    ARTS 

THE  SAN  FRANCISCO  ART  ASSOCIATION 

FEBRUARY/  MARCH 

1920 


REMBRANDT  EXHIBITION 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

Microsoft  Corporation 


http://www.archive.org/details/catalogueofloaneOOmorgrich 


CATALOGUE    OF 


THE    LOAN    EXHIBITION    OF 

DRAWINGS  &  ETCHINGS 
BY  REMBRANDT 


FROM  THE 

J.PIERPONT   MORGAN 

COLLECTION 


WITH  A  PREFACE, 

BIBLIOGRAPHY^  EXPLANATORY  NOTES 

BY  J.NILSEN  LAURVIK,  DIRECTOR 

THE    PALACE    OF    FINE    ARTS 

THE  SAN  FRANCISCO  ART  ASSOCIATION 

FEBRUARY/  MARCH 
1920 


COPYRIGHT,    I92O 

BY  THE  SAN  FRANCISCO  ART  ASSOCIATION 

ALL  RIGHTS  RESERVED" 


Of  this  edition^  1500  copies  were  printed  in  February,  1920 
by  Taylor  £5?  Taylor,  San  Francisco 


HALFTONE  ENGRAVINGS 

BY  COMMERCIAL  ART  COMPANY,  SAN  FRANCISCO 

DIRECT  FROM  THE  ORIGINALS 

THE  MONOGRAM  ON  COVER  AND  TITLE  PAGE 

AND  AUTOGRAPH  ON  BACK  COVER,  ARE  REPRODUCED  FROM 

AUTHENTIC  SIGNATURES  BY  REMBRANDT 


PREFACE 

The  Loan  Exhibition  of  Drawings  and  Etchings  by  Rembrandt  which, 
through  the  generous  courtesy  of-Mr.  J.  Pierpont  Morgan,  the  San  Francisco 
Art  Association  now  offers  to  the  people  of  San  Francisco  marks  the  highest 
peak  so  far  attained  in  the  series  of  noteworthy  installations  made  in  our 
Museum  in  the  Palace  of  Fine  Arts  during  the  first  four  years  of  its  existence. 
The  loan  of  this  priceless  and  world-renowned  collection  is  another  signifi- 
cant indication  of  the  position  achieved  by  our  Museum  in  its  brief  career  in 
the  esteem  of  the  foremost  collectors  throughout  the  country,  and,  in  its 
wayj-cpnstitutes  one  of  the  finest  compliments  ever  paid  our  city,  as  never 
before  has  Mr.  Morgan  given  any  one  carte  blanche  to  choose  from  his  collec- 
tion whatever  might  be  desired. 

Taking  full  advantage  of  this  liberality,  I  have  selected  the  most  repre- 
sentative plates,  omitting  only  redundancies  in  subject  and  a  few  plates  of 
lesser  value  and  most  of  those  of  doubtful  authenticity,  the  inclusion  of 
which  would  add  little  or  nothing  to  our  understanding  of  Rembrandt,  if  not 
actually  serve  to  confuse  the  issue,  making  more  difficult  the  chronological 
study  of  his  personal  and  aesthetic  development.  The  few  plates  of  doubtful 
or  disputed  authorship  which  have  been  included  are  shown  for  the  sake  of 
comparison  with  the  authentic  plates,  affording  the  students  of  the  psy- 
chology of  style  an  opportunity  to  discover  the  real  virtue  in  the  generally 
accepted  dictum  that  "the  style  is  the  man".  To  those  who  esteem  character 
above  a  pretty  dilettantism  and  to  whom  art  is  the  revealing  index  to  the  true 
character  of  persons  and  periods,  no  more  fascinating  quest  can  possibly  be 
imagined  than  the  pursuit  of  this  elusive  will-o'-the-wisp  of  personality  ex- 
pressed in  style,  whereby  the  authentic  and  veritable  lineaments  of  the  face 
of  genius  are  discovered  to  us.  This  is  by  no  means  the  least  of  the  pleasures 
afforded  one  by  a  study  of  this  remarkable  collection  of  prints,  each  of  which 
is  a  page  in  the  spiritual  autobiography  of  its  author.  And,  though  the  collec- 
tion as  presented  here  does  not  include  every  item  comprised  in  what  is  known 
as  the  Morgan  Rembrandt  Collection,  nevertheless  it  may  be  said  to  represent 
Rembrandt's  whole  opus  as  an  etcher,  as  Mr.  Morgan,  with  the  collector's 
penchant  for  completeness,  included  in  his  collection  every  plate  attributed 
at  one  time  or  another  to  Rembrandt.  Many  of  these  have  now,  with  vary- 
ing degrees  of  certainty,  been  assigned  to  pupils  or  followers,  such  as  Ferdi- 


Rembrandt  Exhibition 


nand  Bol,  the  most  gifted  member  of  his  entourage,  to  Jan  Lievens,  the 
friend  and  companion  of  his  early  Leyden  days,  and  to  Jan  Van  Vliet,  to 
Jacob  Koninck  and  Pieter  de  With,  to  Samuel  van  Hoogstraaten  and  Govart 
Flink,  all  of  whom  were  in  more  or  less  active  contact  with  Rembrandt  or 
fell  under  the  influence  of  his  personality  during  those  first  ten  busy  years  in 
Amsterdam  when  his  house  on  the  Joden  Breestraat  was  the  rendezvous  of 
scores  of  pupils  and  patrons,  who,  it  is  said,  "had  to  pray  as  well  as  pay" for 
their  portraits. 

Every  plate  which  remains  unchallenged  by  all  acknowledged  authorities 
is  to  be  found  here,  as  well  as  practically  all  those  on  which  most  authorities 
agree,  while  nothing  in  the  least  important  has  been  excluded.  The  wide 
divergence  of  expert  opinion  on  this  much  debated  question  of  authenticity 
may  be  judged  by  the  following  summary  of  the  conclusions  arrived  at  by  the 
foremost  authorities:  Gersaint  lists  349  items  in  his  Catalogue  Raissone,  pub- 
lished in  the  middle  of  the  eighteenth  century  and  since  serving  as  the  basis  of 
all  modern  catalogues;  Bartsch  in  his  Catalogue  of  1797,  which  has  come  to  be 
universally  accepted  as  the  standard  work  on  Rembrandt's  etchings,  accepts 
375  plates  as  authentic;  Charles  Blanc  in  1880  acknowledged  353.  As  op- 
posed to  this  rather  too  liberal  inclusiveness  of  the  first  cataloguers  who  seri- 
ously attempted  a  definition,  we  have  the  results  of  the  more  conservative 
and  scientific  researches  of  Michel,  who  in  1 893  stopped  at  270,  and  of  von 
Seidlitz,  who  two  years  later  accepted  264,  while  Friedrich  Lippmann  in 
1906  accepts  the  same  number  as  Michel,  and  Arthur  M.  Hind,  in  his  cat- 
alogue of  191 2,  so  far  the  most  painstaking  and  scientific  attempt  made  to 
establish  a  chronological  classification  of  Rembrandt's  etched  work,  lists  303 
plates  as  authentic.  But  the  outstanding  example  of  how  far  it  is  possible  to 
go  in  the  direction  of  elimination  of  so-called  doubtful  plates  is  found  in  the 
hyper-aesthetic  exclusiveness  of  certain  latter-day  critics,  such  as  the  etcher 
Alphonse  Legros,  who  admits  not  more  than  71  plates  as  surely  from  the 
hand  of  the  master,  and  42  more  as  possible,  and  the  cautious  conservatism 
of  Professor  Singer  of  the  Dresden  Print  Cabinet,  who  follows  as  a  close 
second  with  140.  It  will  be  apparent,  therefore,  that  the  selection  shown  here 
—  numbering  257  plates  in  most  of  their  different  states  — comprises  every- 
thing of  consequence  that  may  reasonably  be  included  in  the  category  of 
Rembrandt's  etched  works;  and  when  one  considers  that  these  plates  are 
presented  in  impressions  for  the  most  part  impeccable  and  often  in  states  of 


Preface  7 

great  rarity  it  becomes  doubly  apparent  that  we  are  confronted  with  a  rare  if 
not  unique  opportunity  to  study  the  range  and  power  of  Rembrandt's  genius. 

To  facilitate  study  of  the  progressive  development  of  the  man  and  his  art 
(the  two  are  really  one,  the  art  being  merely  the  medium  through  which  the 
man  reveals  himself)  the  collection  will  first  be  arranged  chronologically  and 
later  according  to  subject  as  classified  by  Bartsch,  which  will  make  possible 
a  comparative  study  of  the  varying  treatments  accorded  kindred  subjects 
such  as  portraits,  landscapes,  religious,  genre,  and  classical  pieces  in  the 
earlier  and  later  plates,  and  it  is  hoped  by  this  means  to  present  the  clearest 
possible  impression  of  "the  spirit",  as  Laurence  Binyon  has  it,  "of  one  of  the 
fullest,  deepest  natures  that  ever  breathed".  As  Frank  Weitenkampf  so 
aptly  puts  it,  "The  attraction  of  Rembrandt,  the  supreme  master  in  his 
sphere,  is  a  thing  apart  from,  and  above,  considerations  of  technique  merely, 
or  of  elegance  or  grace  of  treatment,  or  grandeur  or  beauty  of  subject.  It  is 
a  matter  preeminently  of  personality".  And  nowhere  is  the  unfolding  of  this 
rich  nature  so  clearly  and  intimately  indicated  as  in  the  etchings  wherein  all 
who  run  may  read  the  simple  yet  profoundly  moving  story  of  his  life.  Not 
alone  because  in  the  etchings  are  revealed  so  clearly  the  progressive  steps  in 
the  development  of  Rembrandt's  ideas  from  one  "state"  to  another,  so  strik- 
ingly manifested  in  the  two  states  of  the  "Ecce  Homo"  and  in  the  marvelous 
transformation  wrought  in  the  successive  states  of  the  "Three  Crosses",  but 
as  much  because  etching  in  itself  affords  an  opportunity  for  "the  most  clean- 
cut  possible  translation  of  the  character  of  the  artist",  as  Baudelaire  so  truly 
remarks  in  his  Peintres  et  Aqua-fortistes>  does  an  exhibition  of  Rembrandt's 
etchings  offer  the  possibility  of  a  richer,  more  varied  aesthetic  and  spiritual 
experience  than  do  his  paintings.  In  this  connection  it  is  worth  noting  that 
Rembrandt  as  well  as  Diirer  devoted  as  much  if  not  more  attention  to 
engraving  and  etching  as  to  painting,  and  some  of  the  greatest  flights  of  their 
genius  are  to  be  found  expressed  within  the  limited  area  of  the  copper  plate 
with  a  force  and  eloquence  unrivaled  even  by  their  finest  achievements  in 
painting,  which  compels  one  to  the  conclusion  that  a  great  work  of  art  is  so 
by  reason  of  the  greatness  of  its  inner  content  rather  than  by  its  outward 
bulk. 

In  one  of  his  letters  Henrik  Ibsen  declares:  "I  have  written  nothing  that 
I  have  not  myself  experienced",  and  the  longer  one  studies  Rembrandt's  art 
the  more  one  is  convinced,  I  am  sure,  that  he  painted  and  etched  only  what 


8  Rembrandt  Exhibition 

he  himself  had  lived.  In  the  richness  of  their  inner  content  these  etchings 
constitute  one  of  the  most  remarkable  spiritual  autobiographies  in  the  whole 
history  of  graphic  art.  Rembrandt  the  man  is  always  present  in  his  work,  not 
only  in  the  marvelous  series  of  autobiographical  self-portraits,  in  which  one 
may  trace  the  whole  inner  growth  of  the  man  through  years  of  changing 
fortune,  but  in  the  richly  revealing  series  of  family  portraits,  of  genre  and 
biblical  pictures  we  see  the  expanding  soul  of  him  as  he  records  his  reactions 
in  the  presence  of  the  mystery  of  life;  we  behold  him  in  moods  of  high  exalta- 
tion, the  happy  husband  and  the  courted  idol  of  the  elite,  and  in  his  moments 
of  deep  melancholy,  forgotten,  neglected,  dying  in  obscurity:  the  noble 
history  of  a  man  whose  life  was  a  synthesis  of  humanity.  Princes  and 
paupers,  strolling  musicians,  beggars,  rat  catchers,  famous  divines,  scholars 
and  scientists,  the  outcast  leper,  ship  builders,  merchants,  bankers,  patri- 
cians and  substantial  burghers,  all  pass  in  review  before  us,  a  veritable 
Comedie  Humaine,  with  the  protagonists  of  the  sacred  drama  of  God  and 
Man  presented  in  a  spirit  at  once  so  lofty  and  so  imbued  with  humanity  as 
to  have  assured  them  universal  acceptance  by  hardened  sceptics  no  less 
than  by  the  most  ardent  believers.  And  all  this  expressed  so  simply,  with- 
out the  slightest  affectation  or  mannerism. 

His  line  is  never  line  for  its  own  sake,  nor  did  he  ever  present  anything  in 
outline,  detached  and  out  of  relation  to  its  environment.  We  now  know  that 
the  idea  of  relativity  is  one  of  the  highest  and  least  commonly  understood 
of  all  philosophical  concepts,  the  true  key  to  any  real  comprehension  of 
time  and  space  and  all  that  moves  and  has  its  being  therein.  Rembrandt 
was  the  first  practitioner  of  the  plastic  arts  to  realize  the  full  significance  of 
this  law  of  relativity,  and  his  marvelous  chiaroscuro  (that  delicately  organ- 
ized juxtaposition  of  opposites  with  its  subtle  interplay  of  light  and  darkness 
wherein  one  plane  impinges  on  another,  merging  into  its  successor,  thereby 
simulating  the  very  spirit  as  well  as  appearance  of  reality),  this  magical 
chiaroscuro,  is  his  expression  of  this  profound  insight.  By  means  of  his  subtle 
and  poetic  application  of  this  generic  principle  he  created  at  once  the  phys- 
ical as  well  as  the  psychological  milieu  appropriate  to  his  subject.  And  this 
is  his  great  triumph,  the  secret  of  that  intangible  element  in  his  work  which 
endows  it  with  the  mysterious  vitality  of  life  itself,  giving  to  his  men  and 
women  a  personality  more  clearly  defined  and  consequent  than  that  of  most 
living  persons,  because  they  are,  so  to  speak,  all  of  a  piece,  seen  in  true  rela- 


Preface  9 

tion  to  their  environment.  He  was  the  first  of  realists,  perhaps  the  only- 
absolute  realist  so  far  produced  in  graphic  art,  in  the  sense  that  he  above  all 
others  apprehended  and  expressed  that  inner  reality  which  gives  force  and 
validity  to  the  outward  seeming,  affirmed  in  a  letter  to  one  of  his  friends,  in 
which  he  said  his  constant  effort  was  to  put  into  his  works  "as  much  of  life 
and  reality  as  possible". 

The  facts  of  Rembrandt's  career  are  too  well  known  and  so  easily  acces- 
sible that  I  have  not  thought  it  necessary  to  burden  this  all  too  brief  preface 
with  a  recital  of  them,  and  those  who  may  wish  to  pursue  the  subject  fur- 
ther are  referred  for  guidance  to  the  Bibliography  appended  herewith. 

In  conclusion  we  wish  to  record  our  grateful  appreciation  of  Mr.  Morgan's 
generosity  in  allowing  his  collection  to  be  exhibited  so  far  away  from  home, 
and  to  make  acknowledgment  of  the  co-operation  of  the  following  men  and 
women  whose  sponsorship  has  made  the  exhibition  possible  by  guaranteeing 
the  expenses  involved  in  bringing  the  collection  to  San  Francisco:  Messrs. 
M.  J.  Brandenstein,  William  H.  Crocker,  John  S.  Drum,  Joseph  D.  Grant, 
R.  B.  Hale,  Mrs.  Phoebe  A.  Hearst*,  Messrs.  I.  W.  Hellman,  Jr.,  Jesse  W. 
Lilienthal*,C.  C.  Moore,  Captain  Fritz  S.  Olsen,  Jacob  Stern,  E.  J.  Tobin,  H. 
A.  van  Coenen  Torchiana,  Baron  J.  C.  van  Eck,  and  John  I.  Walter;  while 
Messrs.  Erwin  H.  Furman,  Edward  DeWitt  Taylor,  Henry  H.  Taylor,  and 
Baron  and  Baroness  J.  C.  van  Eck  have  by  their  generous  support,  made 
possible  the  publication  of  this  handsome  catalogue,  in  the  making  of  which 
Mr.  Robert  Rea,  the  Librarian  of  our  Public  Library,  and  Miss  Byrne  of 
the  Reference  Department  have  materially  aided  by  supplying  us  with  the 
list  of  titles  of  all  books  in  the  Library  referring  to  Rembrandt,  the  same 
being  starred  in  the  Bibliography,  and  last  but  not  least  we  wish  to  express 
our  deep  appreciation  of  the  unremitting  thought  and  attention  devoted  by 
printer  and  engraver  to  perfecting  their  part  of  this  publication,  and  to 
thank  W.  P.  Fuller  &  Company  for  their  kindness  in  lending  us  the  glass 
required  for  the  installation  of  the  prints. 

J.  Nils  en  Laurvik,  Director. 

San  Francisco,  February  28,  IQ20. 


*Deceased. 


LIST   OF   PLATES 

The  Blindness  of  Tobit.  Drawing.  Frontispiece 

Rembrandt's  Mother  with  a  Black  Veil.  About  1631  Facing  page  16 

Rembrandt  with  Turned-up  Hat  and  Embroidered  Mantle.  1631.  17 

The  Rat  Killer.  1632  20 

Rembrandt  in  Cap  and  Scarf.  1633.  21 
Jan  Uytenbogaert,  Preacher  of  the  Sect  of  Arminian  Remonstrants.  1635.     22 

The  Strolling  Musicians.  About  1635.  23 

Rembrandt  with  Mouth  Open  as  if  Shouting.  1630.  26 

Rembrandt  with  Staring  Eyes.  1630.  26 

Rembrandt  Grimacing.  1630.  26 

Rembrandt  with  Cap  Pulled  Forward.  About  1631.  26 

Rembrandt  with  Bushy  FIair  and  Small  White  Collar.  About  1630.  26 

Rembrandt  with  Moustaches  and  Short  Beard.  About  1631.  26 

Rembrandt  in  a  Round  Fur  Cap.  1631.  27 

Rembrandt  in  a  Mantle  and  Cape.  1631.  27 

Rembrandt  with  Long  Bushy  FIair:  head  only.  About  1631.  27 

Rembrandt  with  a  Fur  Cap  and  Light  Dress.  1630.  27 

Rembrandt  in  a  Slant  Fur  Cap  and  Robe.  1631.  27 

Rembrandt  in  a  Cap,  Laughing.  1630.  27 

Rembrandt  and  His  Wife  Saskia.  1636.  28 

Rembrandt  in  Velvet  Cap  and  Plume.  1638.  29 

Death  of  the  Virgin.  1639.  32 

Jan  Uytenbogaert,  Receiver-General  (the  "gold  weigher").  1639.                    23 

Rembrandt  Leaning  on  a  Stone  Sill.  1639.  36 

The  Windmill,  known  as  "Rembrandt's  Mill".  1641  37 

The  Blind  Fiddler.  1631.  40 

Beggar  Standing  Leaning  on  a  Stick.  About  1630-32.  40 

A  Peasant  in  a  High  Cap,  Standing,  Leaning  on  a  Stick.  1639.  40 

The  Quack  Salver.  1635.  40 

The  Three  Trees.  1643.  41 

Jan  Asselyn  ("Crabbetje")  Painter.  About  1647.  44 

Jan  Six  (usually  called  "Burgomaster"  Six).  1647.  45 

Rembrandt  Drawing  at  a  Window.  1648.  48 

The  Artist  Drawing  from  a  Model:  unfinished  plate.  About  1648.                    49 
Christ,  with  the  Sick  around  Him,  receiving  Little  Children 

(the  "hundred  guilder"  print).  About  1649.  52 

Sheet  of  Studies  with  the  Head  of  Rembrandt.  About  1651  53 
Christ  Crucified  between  the  Two  Thieves  (the  "three  crosses").  1653.        56 

Jan  Lutma,  the  Elder,  Goldsmith  and  Sculptor.  1656.  57 


CATALOGUE 


CATALOGUE 

The  dimensions  are  given  in  millimeters,  and  the  "5"  numbers  in 

parentheses  refer  to  the  Bartsch  Catalogue.  The  variations  in  the  spelling 

of  the  artist's  signature  follow  the  originals  on  the  plates. 

A.     ETCHINGS 

1.  (B.  354)  REMBRANDT'S  MOTHER:  HEAD  &  BUST  three  quar- 
ters right.  Signed  with  monogram  and  dated:  1628.  Second  State  [66 
X63] 

2.  (B.  352)  REMBRANDT'S  MOTHER:  HEAD  ONLY,  FULL  FACE. 

Signed  with  monogram  and  dated:  1628.  Second  State:  two  Impres- 
sions [62  x  64] 

6.  (B.  116)  THE  SMALL  LION  HUNT  (WITH  ONE  LION).  About 
1630-41.  Only  One  State  known  [158  x  118] 

This  is  one  of  three  Hunting  Scenes  which  Rembrandt  etched  in  the  manner  of 
Rubens,  and  corresponds  somewhat  to  the  central  group  in  the  latter 's  "Lion  Hunt" 
at  Munich.  Dr.  Hofstede  de  Groot  has  assigned  the  production  of  this  plate  to  the 
year  1629  or  30. 

7.  (B.  164)  BEGGAR  MAN  AND  BEGGAR  WOMAN  CONVERSING. 

Signed  with  monogram  and  dated:  1630.  Second  State  [78  x  66] 

9.  (B.  163)  BEGGAR  STANDING,  LEANING  ON  A  STICK.  About 
1630-32.  Only  One  State  known  [85  x  46] 

II.  (B.  174)  BEGGAR  SEATED  ON  A  HILLOCK.  Signed  with  mono- 
gram and  dated:  1630.  Second  State  [116  x  69] 


14  Rembrandt  Exhibition 

12.  (B.  179)  BEGGAR  WITH  A  WOODEN  LEG.  About  1630.  First 
State  [114x66]  and  Second  State  [113x66],  after  plate  had  been 
slightly  reduced. 

13.  (B.  165)  BEGGAR  MAN  &  BEGGAR  WOMAN  COMING  FROM 
BEHIND  A  BANK.  About  1630.  Fifth  State.  After  the  reduction  of 
the  plate  from  its  original  size:  [116  x  84]  to:  [97  x  66]  which  eliminated 
the  monogram  signature  appearing  on  the  First,  Second,  and  Third 
States. 

14.  (B.  151)  OLD  MAN  IN  A  CLOAK  AND  FUR  CAP  LEANING 

AGAINST  A  BANK.  Signed  with  monogram:  about  1630-35.  First 
State  [112  x  78] 

15.  (B.  162)  BEGGAR  IN  A  HIGH  CAP,  STANDING  AND  LEANING 
ON  A  STICK.  About  1630-32.  Second  State  [156  x  120] 

16.  (B.  172)  RAGGED  PEASANT  WITH  HIS  HANDS  BEHIND  HIM, 
HOLDING  A  STICK.  About  1630.  Third  and  Fourth  States  [92  x 
67] 

17.  (B.  54)  THE  FLIGHT  INTO  EGYPT:  A  SKETCH.  About  1630. 
Fourth  State  [79  x  51] 

The  plate  in  its  entirety,  before  being  cut  down,  which  represents  the  First  State  of 
it,  exists  only  at  Amsterdam  and  Paris.  It  measures  [135  x  84]. 

18.  (B.  51)  THE  PRESENTATION  IN  THE  TEMPLE  (WITH  THE 
ANGEL):  SMALL  PLATE.  Signed  with  monogram  and  dated:  1630. 
Second  State  [102  x  78] 

19.  (B.  48)  THE  CIRCUMCISION:  SMALL  UPRIGHT  PLATE.  About 
1630.  First  and  Second  States  [88  x  64] 


Catalogue  of  Etchings  15 

21.  (B.  304)  BUST  OF  A  MAN  IN  FULL  FACE,  WEARING  A  CLOSE 
CAP  (REMBRANDT'S  FATHER?).  Signed  with  monogram  and  dated: 
1630.  Fifth  and  Sixth  States  [97  x  73] 

22.  (B.  321)  BUST  OF  A  MAN  WEARING  A  HIGH  CAP  (REM- 
BRANDT'S FATHER?).  Signed  with  monogram  and  dated:  1630. 
Second  State  [102  x  85] 

23.  (B.  292)  BALD-HEADED  MAN  IN  PROFILE  TO  RIGHT  (REM- 
BRANDT'S FATHER?).  Signed  with  monogram  and  dated:  1630. 
Intermediate  State  between  Third  and  Fourth  States  [69  x  58] 

24.  (B.  294)  BALD  HEADED  MAN  IN  PROFILE  TO  THE  RIGHT: 
SMALL  BUST  (REMBRANDT'S  FATHER?).  Signed  with  monogram 
and  dated:  1630.  Second  State  [57  x  43] 

26.  (B.  291)  BUST  OF  AN  OLD  MAN  WITH  FLOWING  BEARD  AND 
WHITE  SLEEVE.  About  1630.  Only  One  State  known  [71  x  64] 

27.  (B.  325)  BUST  OF  AN  OLD  MAN  WITH  FLOWING  BEARD, 
THE  HEAD  BOWED  DOWN.  Signed  with  monogram  and  dated:  1630. 
Only  One  State  known  [89  x  75] 

28.  (B.309)  BUST  OF  AN  OLD  MAN  WITH  FLOWING  BEARD: 
THE  HEAD  INCLINED  THREE-QUARTERS  RIGHT.  Signed  with 
monogram  and  dated:  1630.  First  State  [98  x  81] 

29.  (B.  24)  REMBRANDT  WITH  A  FUR  CAP  AND  LIGHT  DRESS. 

Signed  with  monogram  and  dated:  1630.  Fifth  State  [62  x  52] 

30.  (B.  10)  REMBRANDT  GRIMACING.  Signed  with  monogram  and 
dated:  1630.  Second  and  Third  States  [72  x  61] 


1 6  Rembrandt  Exhibition 

3 1.  (B.  13)  REMBRANDT  WITH  MOUTH  OPEN  AS  IF  SHOUTING. 

Signed  with  monogram  and  dated:  1630.  Second,  and  Intermediate 
State  between  the  Second  and  Third  [73  x  62] 

32.  (B.  320)  REMBRANDT  WITH  STARING  EYES.  Signed  with  mon- 
ogram and  dated:  1630.  Second  State  [51  x  46] 

33.  (B.  1)  REMBRANDT  WITH  BUSHY  HAIR  AND  SMALL  WHITE 
COLLAR.  Signed  with  monogram:  about  1630.  Second  State  [57  x  49] 

34.  (B.316)  REMBRANDT  IN  A  CAP,  LAUGHING.  Signed  with 
monogram  and  dated:  1630.  Fifth  State  [48  x  44] 

38.  (B.  138)  THE  BLIND  FIDDLER.  Signed  with  monogram  and  dated: 
1 63 1.  Fourth  State  [78  x  $3] 

42.  (B.  201)  DIANA  BATHING.  Signed  with  monogram:  about  1631. 
First  State  [177  x  158] 

43.  (B.  198)  NAKED  WOMAN  SEATED  ON  A  MOUND.  Signed  with 
monogram  in  First  State:  about  1631.  Second  State  [177  x  160] 

44.  (B.  204)  DANAE  AND  JUPITER;  ALSO  CALLED  JUPITER  AND 
ANTIOPE:  THE  SMALLER  PLATE.  Signed  with  monogram:  about 
1 63 1.  Third  State  [84  x  112] 

This  plate  is  evidently  the  one  referred  to  in  the  inventory  of  Clement  de  Jonghe's 
Rembrandts  as  "Venus  en  Satyr". 

47.  (B.  260)  BUST  OF  AN  OLD  MAN  WITH  A  LONG  BEARD,  LOOK- 
ING DOWN.  Signed  with  monogram  and  dated:  1631.  First  State 
[119  x  117]  and  Second  State  [119  x  106] 

48.  (B.  315)  BUST  OF  AN  OLD  MAN  WITH  FLOWING  BEARD, 


No.  52 — Rembrandt's  Mother  with  a  Black  Veil.  About  1631 


No.  54 — Rembrandt  with  Turned-up  Hat  and  Embroidered  Mantle.  1631 


Ca  talogue  of  Etch  ings  1 7 

HEAD  NEARLY  ERECT.  Signed  with  monogram  and  dated:  1631. 
Second  State  [67  x  64] 

49.  (B.  312)  BUST  OF  AN  OLD  MAN  WITH  FUR  CAP  AND  FLOW- 
ING BEARD.  About  1631.  Second  State  [62  x  ^ 

50.  (B.  349)  REMBRANDT'S  MOTHER  HOLDING  HER  HAND  TO 
HER  CHEST.  Signed  with  monogram  and  dated:  1631.  First  and  Sec- 
ond States  [94  x  66] 

This,  like  several  other  of  Rembrandt's  plates,  has  suffered  the  misfortune  of  being 
"re-worked"  by  a  certain  C.  H.  Watelet  who  has  duly  celebrated  his  achievement 
by  the  following  inscription,  which  appears  on  what  is  known  as  the  Third  and 
Fourth  States  of  the  plate:  C.  H.  W.  Reparavit,  1760,  Bruxelles. 

51.  (B.  348)  REMBRANDT'S  MOTHER  SEATED  FACING  RIGHT, 
IN  AN  ORIENTAL  HEAD-DRESS:  HALF  LENGTH,  SHOWING 

HANDS.  Signed  with  monogram  and  dated:  1631.  Second,  and  Inter- 
mediate State  between  the  Second  and  Third  States  [145  x  129] 

52.  (B.  343)  REMBRANDT'S   MOTHER  WITH  A   BLACK  VEIL. 

Signed  with  monogram:  about  163 1.  Third  State  [147  x  130] 

53.  (B.  263)  MAN  WITH  A  SHORT  BEARD  IN  HIGH  FUR  CAP 
(REMBRANDT'S  FATHER?).  Signed  with  monogram  and  dated:  1631. 
Third  State  [146  x  130] 

54.  (B.  7)  REMBRANDT  WITH  TURNED-UP  HAT  AND  EM- 
BROIDERED MANTLE.  Signed  with  monogram  and  dated:  1631. 
Ninth  State  [146  x  130] 

55.  (B.  8)  REMBRANDT  WITH  LONG  BUSHY  HAIR:  HEAD  ONLY. 

About  1 63 1.  Sixth  State  [64  x  60] 


1 8  Rembrandt  Exhibition 

56.  (B.  16)  REMBRANDT  IN  A  ROUND  FUR  CAP.  Signed 'with  mono- 
gram and  dated:  1631.  Only  One  State  known  [63  x  58] 

57.  (B.  2)  REMBRANDT  WITH  MOUSTACHES  &  SHORT  BEARD. 
About  1 63 1.  Second  State  [50  x  44] 

58.  (B.  319)  REMBRANDT  WITH  CAP  PULLED  FORWARD.  About 
1 63 1.  Fourth  and  Fifth  States  [50  x  42] 

62.  (B.  14)  REMBRANDT  IN  A  SLANT  FUR  CAP  &  ROBE.  Signed 
with  monogram  and  dated:  1631.  First  State  [63  x  $6] 

63.  (B.  15)  REMBRANDT  IN  A  MANTLE  AND  CAPE.  Signed  with 
monogram  and  dated:  1631.  Fourth  and  Fifth  States  [64  x  54] 

65.  (B.  322)  BUST  OF  A  YOUNG  MAN  IN  A  CAP.  Signed  with  mono- 
gram and  dated:  in  First  State  1631.  Second  State,  plate  reduced, 
monogram  and  date  eliminated  [50  x  47] 

66.  (B.  6)  REMBRANDT  IN  A  FUR  CAP  AND  A  DARK  CLOAK. 

About  1 63 1.  Fourth  State  [66  x  60] 

69.  (B.  135)  PEASANT  WITH  HIS  HANDS  BEHIND  HIS  BACK. 

Signed  with  monogram  and  dated:  1631.  Fifth  and  Sixth  States  [59  x 

49] 

75.  (B.  175)  AN  OLD  BEGGAR  SEATED  WITH  HIS  DOG.  Signed 

with  monogram  and  dated:  1631  or  51.  Second  State  [109  x  81] 

The  only  impression  known  of  the  First  State  is  at  Paris  and  is  a  maculature  printed 
on  the  back  of  number  75*. 


Catalogue  of  Etchings  19 

76.  (B.  134)  THE  ONION  WOMAN.  Signed  with  monogram  and  dated: 

in  Second  State,  1631.  Second  and  Third  States  [126  x  85] 

This  plate  has  been  questioned  as  being  actually  by  the  hand  of  Rembrandt;  it  is 
thought  to  be  pupil  work  after  a  drawing  by  the  master. 

77.  (B.  171)  THE  LEPER  ("LAZARUS  KLAP").  Signed  with  monogram 

and  dated:  1631.  Third  [92  x  63]  and  Sixth  [85  x  59]  States. 

The  only  impression  known  of  the  First  State  at  Paris  is  a  maculature  printed  on  the 
back  of  the  same  paper  which  contains  number  77.  The  plate  is  traditionally  known 
as  "Lazarus  Klap",  referring  to  a  leper  with  his  clapper. 

79.  (B.  166)  BEGGAR  WITH  A  CRIPPLED  HAND  LEANING  ON  A 
STICK.  About  1 63 1.  First  State  [97  x  42] 

This  as  well  as  the  following  is  characterized  by  Bartsch  as  in  the  manner  of  Callot. 

80.  (B.  168)  OLD  BEGGAR  WOMAN  WITH  A  GOURD.  About  1631. 
Second  State  [102  x  45] 

82.  (B.  ss)  BUST  OF  AN  OLD  WOMAN  IN  FURRED  CLOAK  AND 
HEAVY  HEAD-DRESS.  Signed  with  monogram  and  dated:  1631. 
Third  State  (according  to  Rovinski),  Second  State  (according  to  von 
Seidlitz  and  Hind),  Fifth  State  (according  to  Rovinski),  and  Fourth 
State  (according  to  von  Seidlitz  and  Hind)  [58  x  $3] 

83.  (B.358)  BUST  OF  AN  OLD  WOMAN  IN  A  HIGH  DRESS  BOUND 
ROUND  THE  CHIN.  About  1631.  Second  State  [71  x  58] 

84.  (B.  307)  BUST  OF  A  BEARDLESS  MAN  IN  A  FUR  CLOAK  AND 
CAP,  LOOKING  DOWN  (REMBRANDT'S  FATHER?).  Signed  with 
monogram  and  dated  twice:  1631 

85.  (B.  324)  BUST  OF  A  BALD-HEADED  MAN  IN  A  FUR  CLOAK, 


2  0  Rembrandt  Exhibition 

LOOKING  TOWARDS  THE  RIGHT  (REMBRANDT'S  FATHER?). 

Signed  with  monogram  and  dated:  1631.  Second  and  Third  States 
[66  x  58] 

90.  (B.  363)  THE  HEAD  OF  REMBRANDT  AND  OTHER  STUDIES. 
About  1632-34.  Second  State  [99  x  103] 

91.  (B.  344)  REMBRANDT'S  MOTHER  IN  WIDOW'S  DRESS  AND 

BLACK   GLOVES.  Signed:-  Rembrandt   f.   about   1632.  Second    and 

Third  States  [150  x  114] 

By  various  authorities  this  plate  is  regarded  as  being  largely  the  work  of  Rem- 
brandt's pupils  during  the  early  Amsterdam  period,  and  that  Rembrandt  personally 
added  only  a  few  finishing  touches  and  the  signature,  which  is  accepted  by  all 
authorities  as  genuine. 

92.  (B.  262)  OLD  MAN  SEATED,  WITH  FLOWING  BEARD,  FUR 
CAP  &?  VELVET  COAT.  Signed  with  monogram:  about  1632.  Second 
State  [150  x  129] 

93.  (B.  152)  MAN  STANDING  IN  ORIENTAL  COSTUME  AND 
PLUMED  FUR  CAP.  Signed  with  monogram  and  dated:  1632.  Second 
State  [107  x  78] 

94.  (B.  101)  ST.  JEROME  KNEELING  IN  PRAYER:  ARCHED 
PLATE.  Signed  and  dated:  Rembrant  f.  1632.  Second  State  [108  x  80] 

95.  (B.  62)  THE  HOLY  FAMILY:  THE  VIRGIN  WITH  A  BASKET 
OF  LINEN.  Signed  with  monogram:  about  1632.  Only  One  State 
finally  accepted  [95  x  71] 

96.  (B.  73)  THE  RAISING  OF  LAZARUS:  THE  LARGER  PLATE. 


No.  97 — The  Rat  Killer.  163^ 


Qr*lmnft  f.''i6h- 


\S 


No.  108 — Rembrandt  in  Cap  and  Scarf.  1633 


Catalogue  of  Etchings  2  i 

Signed  with  monogram  and  surname:  v.  Rijn  f.  about  1632.  Ninth  and 
Tenth  States  [366  x  258] 

97.  (B.  121)  THE  RAT  KILLER.  Signed  with  monogram  and dated;  1632. 
Second  State  [140  x  124] 

98.  (B.  141)  POLANDER  WITH  PLUMED  HAT  AND  SABRE  LEAN- 
ING ON  A  STICK,  FACING  LEFT.  About  1632-35.  Intermediate 
between  Third  and  Fourth,  Fourth  and  Fifth  States  [82  x  43] 

IOI.  (B.  90)  THE  GOOD  SAMARITAN.  Signed  and  dated  in  the  Fourth 
State:  Rembrandt.  Inventor,  et.  fecit.  1633.  First  and  Fourth  States. 
First  State  [258  x  218].  Fourth  State  slightly  reduced  [257  x  208].  Sig- 
nature and  date  added. 

The  impression  of  the  latter  in  this  collection  is  unusually  fine  and  is  one  of  the  rare 

impressions  showing  margins  and  plate  lines. 

103.  (B.  81)  THE  DESCENT  FROM  THE  CROSS:  LARGE  PLATE. 

Signed  and  dated:  Rembrandt  f.  cum  pryvl'  1633.  Second  State  [530  x 

410] 

While  it  may  indeed  be  doubted  whether  the  execution  of  this  plate  is  in  its  entirety 
the  work  of  Rembrandt  himself,  there  can  be  little  doubt  that  the  design  in  its 
conception  and  general  execution  is  that  of  Rembrandt.  Both  in  the  types  presented 
as  well  as  in  the  building  up  of  the  structural  lines  of  the  composition,  it  accords  with 
the  underlying  principle  of  Rembrandt's  art.  Moreover,  it  is  quite  obvious  that  in 
the  figure  of  the  stocky  young  man  on  the  ladder  to  the  right  of  the  cross  we  have  a 
portrait  of  Rembrandt  himself  corresponding  very  closely  to  his  self  portrait  "In  a 
Cap  and  Scarf"  (No.  108)  executed  in  the  same  year  as  this  composition;  while  in 
the  figure  of  the  young  woman  seated  at  the  foot  of  the  ladder  I  recognize  the  likeness 
of  Saskia,  at  whose  cousin's  house  Rembrandt  was  staying  during  the  early  years 
at  Amsterdam.  The  plate  was  first  published  by  this  cousin,  Hendrik  van  Ulen- 
burch,  whose  name  was  inscribed  as  publisher  on  the  Third  State  of  the  plate.  The 
likeness  of  the  figure  to  Saskia,  which  is  possibly  the  first  known  portrait  of  her,  may 
be  confirmed  by  comparing  it  with  Rembrandt's  portrait  of  her,  "With  Pearls  in 
her  Hair"  of  1634  (No.  112),  in  which  she  is  wearing  the  same  pearl  earring  as  in 


22  Rembrandt  Exhibition 

-  "The  Descent  from  the  Cross".  But  the  heavy,  dry  style  of  etching  intermixed  with 
graver  work  is  certainly  by  the  hand  of  a  pupil  or  assistant  working  in  the  master's 
studio  under  his  direction,  as  is  probably  true  also  of  "The  Christ  before  Pilate" 
(No.  143)  .the  general  workmanship  of  which  bears  a  strong  resemblance  to  the 
present  plate.  This  plate,  like  so  many  others,  was  also  re-worked  by  Watelet,  in 
whose  sales  catalogue  of  1786  this  fact  is  noted. 

104.  (B.  38)  JACOB  LAMENTING  THE  SUPPOSED  DEATH  OF 
JOSEPH.  Signed:  Rembrant.  van.  Rijn.  fe.  About  1633.  First  and 
Second  States  [107  x  80] 

The  attribution  of  this  plate  to  Rembrandt  has  been  much  disputed,  though  Hind 
and  Bartsch  list  it  among  the  "authentic  etchings"  of  the  master. 

105.  (B.  52)  THE  FLIGHT  INTO  EGYPT:  SMALL  PLATE.  Signed 
and  dated:  Rembrandt  inventor  et  fecit.  1633.  First  State  [89  x  62] 

106.  (B.  in)  CONTRARY  FORTUNE.  Signed  and  dated:  Rembrandt 
f.  1633.  Second  State  [hi  x  167] 

This  etching  was  used,  together  with  seventeen  etchings  by  W.  Basse  and  an  en- 
graved title  page,  to  illustrate  a  book  by  E.  Herckmans,"Der  Zee-Vaert  Lof"  (The 
Praise  of  Sea  Faring),  published  in  Amsterdam  in  1674.  Seymour  Haden  and  other 
authorities  are  inclined  to  attribute  the  work  to  Bol;  while  Mr.  Hind  regards  it  as 
being  by  Rembrandt. 

107.  (B.  351)  REMBRANDT'S  MOTHER  IN  A  CLOTH  HEAD- 
DRESS, LOOKING  DOWN:  HEAD  ONLY.  Signed  and  dated  from 
Second  State  onwards:  Rembrandt  f.  1633.  Second  State  [42  x  40] 

108.  (B.  17)  REMBRANDT  IN  CAP  AND  SCARF.  Signed  and  dated: 
Rembrandt  f.  1633.  Third  State  [42  x  40] 

109.  (B.  18)  REMBRANDT  WITH  DRAWN  SABRE  HELD  UP- 
RIGHT. Signed  and  dated:  Rembrandt  f.  1634.  Third  State  [124  x 
102] 


wi^ira.  .niutijftj (fib!sb& v  £U£m  cdjfsaSQddwtj 

faefatds  mtidt-iiAn, ,  ?uc  iawCusn  ^fejSs  aJiof^w 
VWENB  QG/U\DV,T  M  ^mJWf^  2c'm' 


No.  128 — Jan  Uytenbogaert,  Preacher  of  the  Sect  of  Arminian 
Remonstrants.  1635 


Xo.  142 — The  Strolling  Musicians.  About  1635 


Catalogue  of  Etchings  23 

1 10.  (B.  23)  REMBRANDT  WITH  A  SABRE  AND  PLUMED  CAP 
IN  AN  OVAL.  Signed  and  dated:  Rembrandt  f.  1634.  Second  and 
Third  States  [130  x  108] 

111.  (B.  266)  JAN  CORNELIS  SYLVIUS,  PREACHER.  Signed  and 

dated:  Rembrandt  f.  1634.  Intermediate  State  between  the  First  and 

Second  State  [167  x  140] 

The  impression  of  the  Second  State  of  this  plate  in  this  collection  is  inscribed  in  the 
lower  margin  in  XVII-century  handwriting,  possibly  Rembrandt's:  J.  Silvius,  and 
on  the  back  of  the  print  a  contemporary  inscription  in  another  hand  reading  the 
same  as  the  foregoing.  The  subject  of  this  portrait  was  a  cousin  by  marriage  and 
guardian  to  Rembrandt's  wife  Saskia. 

112.  (B.  347)  REMBRANDT'S  WIFE  SASKIA  WITH  PEARLS  IN 
HER  HAIR.  Signed  and  dated:  Rembrandt  f.  1634.  First  State  ac- 
cording to  von  Seidlitz  [86  x  66] 

This  is  one  of  the  most  charming  portraits  of  Rembrandt's  wife  Saskia  made  in  the 
year  of  their  marriage. 

113.  (B.  345)  YOUNG  WOMAN  READING.  Signed  and  dated:  Rem- 
brandt f.  1634.  Third  State  [123  x  100] 

114.  (B.  177)  A  PEASANT:  ONE  OF  A  PAIR,  CALLING  OUT.  Signed 
and  dated:  Rembrand[t]  f.  1634.  Only  One  State  known  [112  x  43] 

Above  the  figure  is  etched  the  inscription:  "Tis  vinnich  kout"  (it's  very  cold). 

115.  (B.  178)  A  PEASANT:  THE  OTHER  OF  THE  PAIR,  REPLY- 
ING. Signed  and  dated:  Rembran[dt]  f.  163(4).  Only  One  State  known 
[in  X39] 

The  etched  inscription  above  the  figure  reads:  "Dats  Niet"  (that's  nothing).  It  is 
more  than  probable  that  Rembrandt  borrowed  the  idea  of  this  pair  of  etchings  from 
two  engravings  of  peasants  by  Hans  Sebald  Beham,  similarly  inscribed  "est  ist 
Kalt  Weter"  and  "Das  schadet  nit".  Rembrandt's  treatment  of  the  subject  is  quite 
different,  however. 


24  Rembrandt  Exhibition 

1 1 8.  (B.  39)  JOSEPH  &  POTIPHAR'S  WIFE.  Signed  and  dated:  Rem- 
brandt f.  1634.  First  and  Second  States  [90  x  114] 

119.  (B.  100)  ST.  JEROME  SITTING  AT  THE  FOOT  OF  A  TREE, 
READING.  Signed  and  dated:  Rembrandt  f.  1634.  Second  State 
[108  x  89] 

120.  (B.  44)  THE  ANGEL  APPEARING  TO  THE   SHEPHERDS. 

Signed  and  dated:  Rembrandt  f.  1634.  Third  State  [262  x  219] 

121.  (B.  88)  CHRIST  AT  EMMAUS:  THE  SMALL  PLATE.  Signed 
and  dated:  Rembrandt  f.  1634.  Only  One  State  accepted  [101  x  71] 

122.  (B.  71)  CHRIST  AND  THE  WOMAN  OF  SAMARIA.  Signed  and 
dated:  Rembrandt  f.  1634.  First  State  [121  x  106] 

123.  (B.  80)  THE  CRUCIFIXION:  SMALL  PLATE.  Signed:  Rem- 
brandt f.  About  1634.  Second  State,  wiped  clean;  and  Second  State 
with  artificial  wiping,  giving  a  monotype-like  effect  [95  x  67] 

The  latter  is  a  very  rare  impression — there  is  another  similar  impression  in  the 
British  Museum. 

124.  (B.  68)  THE  TRIBUTE  MONEY.  About  1634.  First  State  [73  x 
103] 

125.  (B.  97)  THE  STONING  OF  ST.  STEPHEN.  Signed  and  dated: 
Rembrandt  f.  1635.  First  State  [95  x  85] 

126.  (B.  69)  CHRIST  DRIVING  THE  MONEY  CHANGERS  FROM 
THE  TEMPLE.  Signed  and  dated:  Rembrandt  f.  1635.  First  State 
[135  x  167] 

The  inspiration  for  the  figure  of  Christ  in  this  composition  is  found  in  a  woodcut  of 
the  same  subject  by  Diirer. 


Catalogue  of  Etchings  25 

127.  (B.  340)  THE  GREAT  JEWISH  BRIDE.  Signed  with  monogram 

and  dated:  1635.  First  and  Fourth  States  [220  x  168] 

The  commonly  accepted  name  for  the  plate  is  derived  from  the  tradition  that  the 
sitter  was  the  daughter  of  Ephraim  Bonus,  but  the  noted  French  authority,  Blanc, 
inclines  to  the  belief  that  it  is  a  fanciful  portrait  of  Saskia,  which  is  also  accepted  as 
a  possibility  by  Hind. 

128.  (B.  279)  JAN  UYTENBOGAERT,  PREACHER  OF  THE  SECT 
OF  ARMINI  AN  REMONSTRANTS.  Signed  and  dated  from  the  Third 
State  onwards:  Rembrandt  f.  1635.  FIFTH  State  [224  x  187] 

Jan  Uytenbogaert,  or  Johannes  Wtenbogaert,  born  in  1557,  died  in  1644,  was  the 
tutor  to  Prince  Frederick  Henry,  and  one  of  the  most  influential  men  in  Holland 
during  his  time.  In  1589  he  was  invited  to  The  Hague  by  Prince  Maurice  and  Olden- 
barnevelt,  whose  friendship  and  support  he  retained  until  161 8,  when  he  fell  out  of 
favor  with  the  Court  and  went  into  retirement  in  Paris,  whence  he  returned  to 
Holland  in  1626  without,  however,  regaining  his  former  influence.  He  was  the  leader 
of  the  Arminian  Remonstrants  in  their  struggle  with  the  strict  Calvinists.  The  Latin 
verses  appearing  on  the  plate  from  the  Third  State  onwards  are  by  Hugo  Grotius, 
the  celebrated  Latinist  and  reputed  father  of  International  law,  who  was  one  of  his 
closest  friends. 

129.  (B.  350)  AN  OLD  WOMAN  FALLEN  ASLEEP  OVER  A  BOOK. 
About  1635-37.  Only  One  State  known  [69  x  52] 

130.  (B.  290)  OLD  BEARDED  MAN  IN  HIGH  FUR  CAP.  Signed: 
Rembrandt.  About  1635.  Only  One  State  known  [112  x  100] 

131.  (B.  286)  THE  FIRST  ORIENTAL  HEAD  (REMBRANDT'S 
FATHER?).  Signed  and  dated:  Rembrandt  Geretuc[kt]  1635.  Second 
State,  and  Intermediate  State  between  the  Second  and  Third  [150 
x  124] 

This  plate  has  been  the  subject  of  much  controversial  discussion,  the  work  being 
attributed  to  Rembrandt's  contemporary,  Jan  Lievens,  as  well  as  to  Rembrandt's 
pupils.  The  most  generally  accepted  theory  is  that  the  present  plate  is  a  reversed 


26  Rembrandt  Exhibition 

and  slightly  modified  copy  of  Lieven's  etching,  executed  by  some  pupil  of  Rem- 
brandt's and  "retouched"  by  the  master  himself  in  1635,  when  the  signature  and 
date  were  added.  At  all  events,  the  expression  of  the  head  is  imbued  with  a  spirit 
and  vitality  not  unworthy  of  the  master  himself.  The  same  general  hypothesis 
applies  to  the  following. 

132.  (B.  287)  THE  SECOND  ORIENTAL  HEAD  (REMBRANDT'S 
FATHER?).  Signed:  Rembrandt  geretuckert.  About  1635.  Only  One 
State  known  [150  x  125] 

133.  (B.  288)  THE  THIRD  ORIENTAL  HEAD.  Signed  and  dated: 
Rembrandt  geretuck  1635.  Only  One  State  known  [155  x  134] 

134.  (B.  289)  YOUNG  MAN  WITH  LONG  HAIR  WEARING  A  MEZ- 
ZETIN  CAP  (CALLED  BY  HIND  "THE  FOURTH  ORIENTAL 
HEAD").  Signed  with  monogram.  About  1635.  Second  State  [158  x  135] 

138.  (B.  140)  POLANDER  STANDING  WITH  HIS  ARMS  FOLDED 
(A  HURDY  GURDY  PLAYER).  About  1635.  First  State  [51  x  47] 

139.  (B.  129)  THE  QUACK  SALVER.  Signed  and  dated:  Rembrandt  f. 
1635.  Only  One  State  known  [77  x  36] 

140.  (B.  102)  ST.  JEROME  KNEELING  IN  PRAYER,  LOOKING 

DOWN.  Signed  and  dated:  Rembrandt  f.  1635.  First  State:  two  vari- 
ants, in  one  of  which  the  figure  of  St.  Jerome  has  been  printed  in  monotype. 

141.  (B.  124)  THE  PANCAKE  WOMAN.  Signed  and  dated:  Rembrandt 
f.  1635.  Second  State,  and  Intermediate  State  between  Second  and 
Third  [109  x  79] 


ON  H 
O    3 


Catalogue  of  Etchings  27 

142.  (B.  119)  THE  STROLLING  MUSICIANS.  About  1635.  First  and 

Second  States  [139  x  116] 

This  plate  is  regarded  by  von  Seidlitz  as  the  work  of  some  pupil  after  a  drawing  by 
Rembrandt.  Though  listed  by  Mr.  Hind  among  the  accepted  and  authentic  works 
of  the  master  he  acquiesces  in  this  view.  And  I  am  strongly  inclined  to  share  their 
opinion,  as  the  workmanship  is  too  careless  and  inept  in  parts  to  be  by  the  hand  of 
Rembrandt  himself. 

143.  (B.  77)  CHRIST  BEFORE  PILATE.:  LARGE  PLATE.  Signed  and 
dated  in  lower  margin:  Rembrandt  f.  1636  cum  privile.  Second  State 
[550  x  446] 

Generally  speaking,  the  comments  on  "The  Descent  from  the  Cross"  (No.  103)  are 
applicable  to  this  plate,  though  I  believe  in  this  instance  Rembrandt  was  only  re- 
sponsible for  the  design,  and  that  all  the  actual  work  is  by  some  other  hand,  as  it  is 
drier  and  more  uninspired  in  every  respect.  Again,  we  see  two  figures  in  the  composi- 
tion that  might  serve  to  document  it  as  being  by  Rembrandt:  one  of  the  Father  in 
the  guise  of  one  of  the  Pharisees  appealing  to  Pilate,  and  in  the  figure  of  the  young 
man  in  the  cap  next  to  the  guard  on  the  left  of  Christ  we  again  discern  a  portrait  of 
Rembrandt  himself  corresponding  rather  strongly  to  the  head  of  him  on  the  Sheet 
of  Studies  containing  the  beggar  couple,  heads  of  old  man  and  old  woman  (No.  90), 
assigned  to  1632.  However,  I  find  it  distinctly  inferior  in  all  those  qualities  that 
characterize  Rembrandt's  conceptions.  The  composition  is  too  theatrical  and  lack- 
ing in  coherence,  structurally  as  well  as  in  its  ideology,  and  the  characterization  of 
the  various  types  presented  is  quite  formal  and  utterly  lacking  in  the  subtlety  we 
are  accustomed  to  associate  with  Rembrandt's  productions.  Bol,  Salomon  Koninck, 
Lievens,  and  van  Vliet,  have  all  been  suggested  as  possible  authors  of  this  piece. 
Certainly  it  is  one  of  the  least  interesting  and  valuable  artistically  of  all  the  plates 
attributed  to  Rembrandt,  and  may  well  be  by  one  of  his  lesser  contemporaries 
working  under  his  direction. 

144.  (B.  19)  REMBRANDT  &  HIS  WIFE  SASKIA.  Signed  and  dated: 
Rembrandt  f.  1636.  First  State  [104  x  g$] 

145.  (B.  365)  STUDIES  OF  SIX  HEADS,  THE  PORTRAIT  OF  SAS- 
KIA IN  THE  CENTER.  Signed  and  dated:  Rembrandt  f.  1636.  Second 
State  [151  x  127] 


28  Rembrandt  Exhibition 

146.  (B.  269)  SAMUEL  MANASSEH  BEN  ISRAEL,  HEBREW 
AUTHOR.  Signed  and  dated:  Rembrandt  f.  1636.  Second  State  [149  x 
107] 

The  subject  of  this  portrait,  born  in  1604,  and  died  in  Middelburg  in  1657,  was  one 
of  Rembrandt's  intimate  friends  who  lived  near  him  on  the  Joden  Breestraat  in  the 
Jewish  quarter  in  Amsterdam.  The  four  illustrations  to  a  Spanish  book,  listed  under 
No.  284,  were  etched  by  Rembrandt  for  this  author's  book  entitled  "Piedra  gloriosa, 
etc.,  etc.  .  .  ."  published  in  Amsterdam  in  1655. 

147.  (B.  91)  THE  RETURN  OF  THE  PRODIGAL  SON.  Signed  and 

dated:  Rembrandt  f.  1636.  First  State  [156  x  136] 

Dr.  Hofstede  de  Groot  contends  that  the  subject  of  this  plate  was  directly  suggested 
by  an  engraving  of  the  same  subject  by  Maerten  van  Heemskerk,  whose  "complete 
engraved  work"  is  listed  in  the  inventory  of  Rembrandt's  possessions. 

148.  (B.  33)  ABRAHAM  CARESSING  ISAAC.  Signed:  Rembrandt  f. 
About  1637.  First  and  Second  States  [116  x  89] 

149.  (B.  30)  ABRAHAM  SENDING  AWAY  HAGAR  AND  ISHMAEL. 

Signed  and  dated:  Rembrandt  f.  1637.  Only  One  State  known  [125  x  95] 
The  impression  of  this  plate  shown  here  is  a  very  fine  early  one. 

150.  (B.  313)  BUST  OF  AN  OLD  MAN  WITH  A  SQUARE  BEARD 
WEARING  A  JEWELED  VELVET  CAP.  Signed  and  dated:  Rem- 
brandt f.  1637.  Only  One  State  known  [95  x  83] 

151.  (B.  268)  YOUNG  MAN  MUSING.  Signed  and  dated:  Rembrandt  f. 
1637.  Second  State  [96  x  83] 

152.  (B.  368)  THREE  HEADS  OF  WOMEN,  ONE  ASLEEP.  Signed 
and  dated:  Rembrandt  f.  1637.  Second  and  Fourth  States  [142  x  97] 

The  lower  head  bears  a  strong  resemblance  to  Saskia,  as  depicted  in  the  portrait  of 
her  "With  Pearls  in  her  Hair"  of  1634. 


Xo.  144  —  Rembrandt  and  His  Wife  Saskia.  1636 


No.  156 — Rembrandt  in  Velvet  Cap  axd  Plume.  1638 


Ca  ta  logue  of  E  tch  ings  2  9 

153.  (B.  367)  THREE  HEADS  OF  WOMEN,  ONE  LIGHTLY 
ETCHED.  (UPPER  HEAD  PORTRAIT  OF  SASKIA.)  About  1637. 
Second  State  [127  x  102] 

154.  (B.  342)  THE  LITTLE  JEWISH  BRIDE,  OR  STUDY  OF  SAS- 
KIA AS  ST.  CATHERINE.  Signed  and  dated  in  reverse:  Rembrandt  f. 
1638.  Only  One  State  known  [no  x  78] 

155.  (B.  372)  SKETCH  OF  A  TREE  AND  THE  UPPER  PART  OF  A 

HEAD  WEARING  A  VELVET  CAP.  The  Head  about  1638;  the  Tree 

possibly  later. 

The  Head  is  undoubtedly  the  beginning  of  a  portrait  of  Rembrandt  resembling  the 
following,  No.  156. 

156.  (B.  20)  REMBRANDT  IN  VELVET  CAP  AND  PLUME.  Signed 
and  dated:  Rembrandt  f.  1638.  Second  State  [134  x  103] 

157.  (B.  26)  REMBRANDT  IN  A  FLAT  CAP.  Signed:  Rembrandt, 
about  1638.  First  and  Second  States  [93  x  62] 

158.  (B.  311)  MAN  IN  A  BROAD-BRIMMED  HAT  &  RUFF.  Signed 
with  monogram  and  dated:  1630  or  38.  First  and  Second  States  [78  x 
64] 

159.  (B.  28)  ADAM  AND  EVE.  Signed  and  dated:  Rembrandt  f.  1638. 
Second  State  [161  x  116] 

160.  (B.  37)  JOSEPH  TELLING  HIS   DREAMS.  Signed  and  dated: 

Rembran[d]t  f.  1638.  Second  State  [no  x  83] 

The  central  figure  directly  behind  Joseph  bears  a  strong  resemblance  to  Rembrandt's 
self  portraits  of  that  period. 


30  Rembrandt  Exhibition 

161.  (B.  99)  DEATH  OF  THE  VIRGIN.  Signed  and  dated:  Rembrandt 
f.  1639.  Second  State  [409  x  315] 

In  its  loftiness  of  conception,  as  well  as  in  the  coherent  unity  of  its  composition, 
this  plate  must  be  ranked  with  Rembrandt's  greatest  works  whether  in  painting  or 
in  etching.  It  breathes  a  mood  of  deep  and  awe-inspiring  piety  that  takes  his  interpre- 
tation of  the  subject  out  of  the  category  of  formally  conceived  religious  pictures, 
placing  it  in  the  class  of  those  rare  works  that  are  begotten  out  of  a  deep  inner 
necessity  and  are,  therefore,  in  the  best  sense  of  the  word,  the  authentic  documents 
of  the  man's  spiritual  autobiography.  Rarely  indeed  has  the  intimate  relationship 
between  the  man's  inner  and  outward  life  been  so  interwoven  with  the  matter  of 
his  art  as  in  the  case  of  Rembrandt.  Unless  we  are  disposed  to  discount  entirely 
those  delicate  and  far-reaching  intuitions  which  are  of  the  very  essence  of  genius 
we  cannot  disregard  the  rather  obvious  autobiographical  character  of  this  plate, 
made  in  the  year  1639,  which  corresponds  to  the  beginning  of  Saskia's  fatal  illness, 
which  resulted  in  her  death  two  years  later,  and  whose  end  Rembrandt  undoubtedly 
foresaw  even  then,  as  is  so  poignantly  revealed  to  us  in  the  prophetic  little  plate 
entitled  "Youth  Surprised  by  Death",  also  made  in  the  same  year.  Besides  its 
marked  autobiographical  character,  this  plate  holds  another  interest  for  us  in  that 
it  is  one  of  the  earliest  in  which  dry  point  is  employed  to  any  considerable  degree. 

162.  (B.49)  THE  PRESENTATION  IN  THE  VAULTED  TEMPLE: 
OBLONG  PLATE.  About  1639  or  possibly  somewhat  .later,  as  Mr.  Hind 
suggests.  First  and  Second  States  [213  x  290] 

As  many  of  the  types  appearing  in  this  plate  occur  in  the  celebrated  "hundred 
guilder"  plate,  this  plate  may  have  been  executed  at  the  time  of  the  latter. 

163.  (B.369)  SEVERAL  STUDIES,  WITH  A  WOMAN  LYING  ILL 
IN  BED.  About  1639.  Only  One  State  known  [135  x  151] 

The  two  studies  of  the  woman  sick  in  bed  are  strongly  reminiscent  of  the  known 
portraits  of  Saskia  and  probably  represent  her  in  her  last  illness;  while  the  head  in 
outline  directly  underneath  one  of  these  bears  a  strong  resemblance  to  Rembrandt 
himself.  The  infant  nestled  in  the  arms  of  one  of  these  two  figures  is  perhaps  their 
second  daughter,  christened  Cornelia,  July  29th,  1640,  the  same  year  in  which  he 
lost  his  mother. 

164.  (B.  133)  A  PEASANT  IN  A  HIGH  CAP,  STANDING,  LEANING 


Catalogue  of  Etchings  3  1 

ON  A  STICK.  Signed  and  dated:  Rembrandt  f.  1639.  Only  One  State 

known  [83  x  44] 

Two  impressions  of  the  same  State,  the  First  a  contemporary  impression,  pulled  in 
Rembrandt's  lifetime. 

I65.  (B.  109)  YOUTH  SURPRISED  BY  DEATH.  Signed  and  dated: 
Rembrandt  f.  1639.  Only  One  State  known  [109  x  78] 

The  two  figures  in  this  plate  are  so  strongly  reminiscent  of  Rembrandt  and  his  wife 
Saskia  that  the  idea  expressed  cannot  be  without  significance  in  relation  to  Saskia's 
death  in  June  of  1642,  a  presentiment  of  which  may  have  filled  the  sensitive  and 
intuitive  soul  of  Rembrandt  at  this  time.  Indeed  it  is  not  unreasonable  to  suppose 
that  Saskia  may  even  then  (at  the  time  this  plate  was  executed)  have  been  in  the 
grip  of  the  fatal  illness  which  resulted  in  her  death.  The  love  of  life  which  was  so 
strong  in  the  heart  of  both  of  them  at  this  time  is  beautifully  expressed  by  the  flower 
being  offered  by  the  woman  to  Death,  undoubtedly  a  carnation,  the  symbol  of  life 
and  love,  which  Death  reciprocates  by  extending  towards  them  the  glass  with  the 
sands  running  out.  The  plate  is  a  beautiful  illustration  of  the  intimate  connection 
between  Rembrandt's  art  and  the  events  of  his  inner  life,  of  which  his  art  was  merely 
the  visible  expression,  which  made  of  his  work  the  greatest  spiritual  autobiography 
in  the  whole  history  of  graphic  art. 

167.  (B.  281)  JAN  UYTENBOGAERT,  RECEIVER-GENERAL  (THE 

"GOLD-WEIGHER").  Signed  and  dated:  Rembrandt  f.   1639.  First 

and  Third  States  [250  x  204] 

The  subject  of  this  portrait  was  a  brother  of  the  Jan  Uytenbogaert,  catalogued  here 
under  number  128.  In  1639  he  acted  as  intermediary  in  effecting  a  settlement  of 
moneys  due  Rembrandt  for  pictures  from  Prince  Frederick  Henry,  and  Dr.de  Groot 
suggests  that  the  etching  may  have  been  done  in  recognition  of  the  service.  This  is 
one  of  the  several  plates  that  had  the  misfortune  of  falling  into  the  hands  of  the 
English  "amateur",  Captain  Baillie,  who  exercised  his  skill  on  this  as  on  several 
other  plates,  re-working  a' portion  of  it,  adding  shading  in  various  places,  notably 
on  the  upright  cask,  the  back  of  the  kneeling  boy,  the  deep  shadows  of  the  chair, 
and  below  the  fringe  of  the  tablecloth,  giving  to  the  plate  a  decidedly  darker  and 
heavier  aspect  than  originally  intended  and  actually  executed  by  Rembrandt. 


32  Rembrandt  Exhibition 

168.  (B.  21)  REMBRANDT  LEANING  ON  A  STONE  SILL.  Signed 

and  dated:  Rembrandt  f.  1639.  First  and  Second  States  [205  x  164] 

It  is  generally  supposed,  and  with  excellent  reason  I  think,  that  the  general  lines  and 
pose  of  this  self  portrait  have  their  inspiration  in  the  portraits  of  Baldassare  Casti- 
glione  by  Raphael  and  Ariosto  by  Titian,  both  of  which  were  in  Holland  at  the  time. 
Among  the  drawings  of  Rembrandt  there  is  a  sketch  of  the  "Castiglione",  probably 
made  at  the  auction  in  which  this  picture  was  sold  in  1639,  but  in  spite  of  this  very 
obvious  derivation  of  the  design  the  work  remains  characteristically  Rembrandt's 
own  in  its  final  effect. 

1 69.  (B.  259)  AN  OLD  MAN  SHADING  HIS  EYES  WITH  HIS  HAND. 
About  1639.  First  State  [134  x  114] 

170.  (B.  265)  OLD  MAN  WITH  A  DIVIDED  FUR  CAP.  Signed  and 
dated:  Rembrandt  f.  1640.  First  State  [149  x  137] 

171.  (B.  92)  THE  BEHEADING  OF  ST.  JOHN  THE  BAPTIST.  Signed 
and  dated:  Rembrandt  f.  1640.  First  and  Third  States  [128  x  103] 

172.  (B.  40)  THE  TRIUMPH  OF  MORDECAI.  About  1640  or  later. 
Only  One  State  [174  x  215] 

The  impression  in  this  collection  is  a  very  early  one,  with  much  burr. 

1 73-  (B.  79)  THE    CRUCIFIXION:  THE    SMALL    OVAL    PLATE. 

About  1640-48.  First  State  [135  x  100] 

175.  (B.  207)  A  SMALL  GRAY  LANDSCAPE  WITH  A  HOUSE  AND 
TREES  BESIDE  A  POOL.  About  1640.  Only  One  State  known  [38  x 
82] 

176.  (B.  210)  VIEW  OF  AMSTERDAM.  About  1640.  Second  State, 
according  to  Mr.  Hind,  [112  x  153] 


No.  161  —  Death  of  the  Virgin.  1639 


Xn.  167 — Jan  Uytenbogaert,  Receiver-General  (the  "GoLn-WEic.HER'').  1639 


Catalogue  of  Etchings  33 

177.  (B.  225)  LANDSCAPE  WITH  A  COTTAGE  AND  HAY  BARN. 

Signed  and  dated:  Rembrandt  f.  1641.  Only  One  State  known  [129  x 

The  scene  depicted  has  been  identified  by  Dr.  Jan  Six  as  a  View  on  the  River  Amstel, 
into  which  Rembrandt  has  combined  a  distant  view  of  Amsterdam  with  a  nearer 
view  of  Kostverloren,  shown  in  the  midst  of  the  trees  on  the  right. 

178.  (B.  226)  LANDSCAPE  WITH  A  COTTAGE  &  A  LARGE  TREE. 

Signed  and  dated:  Rembrandt  f.  1641.  Only  One  State  [125  x  320] 

179.  (B.  233)  THE  WINDMILL,  KNOWN  AS  "REMBRANDT'S 
MILL".  Signed  and  dated:  Rembrandt  f.  1641.  Only  One  State  known 
[144x207] 

Tradition  connects  this  mill  with  Rembrandt,  and  since  Gersaint's  catalogue  it  has 
been  known  as  "Rembrandt's  Mill".  The  fine  tracery  of  irregular,  panel-like  mark- 
ings covering  a  portion  of  the  sky  was  undoubtedly  caused  by  the  acid  working 
through  the  crackle  of  a  ground  that  was  perhaps  too  brittle. 

180.  (B.  115)  THE  SMALL  LION  HUNT  (WITH  TWO  LIONS).  About 
1641.  Second  State  [154  x  121] 

181.  (B.  114)  THE  LARGE  LION  HUNT.  Signed  and  dated:  Rem- 
brandt f.  1 641.  Second  State  [224  x  300] 

As  in  the  case  of  the  two  "Small  Lion  Hunts"  the  influence  of  Rubens  is  to  be 
observed  in  this  plate,  in  which  Rembrandt  experimented  in  a  rough  and  sketchy 
manner  quite  foreign  to  his  usual  treatment.  Though  it  is  imbued  with  his  char- 
acteristic verve  and  vigor,  the  result  achieved  is  hardly  more  than  the  merest  pre- 
liminary to  his  usual  manner  of  working.  It  is  chiefly  interesting  as  a  revelation  of 
his  impressionable  temperament,  sensitive  to  generic  manifestations  in  art  as  well 
as  in  life. 

182.  (B.  98)  THE  BAPTISM  OF  THE  EUNUCH.  Signed  and  dated: 
Rembrandt  f.  1641.  Second  State  [180  x  213] 


34  Rembrandt  Exhibition 

183.  (B.  118)  THE  THREE  ORIENTALS.  Signed  and  dated  in  reverse: 
Rembrandt  f.  1641.  Second  State  [144  x  113] 

184.  (B.  120)  THE  SPANISH  GYPSY.  About  1641.  Only  One  State 
known  [133  x  113] 

185.  (B.  43)  THE  ANGEL  DEPARTING  FROM  TOBIT  AND  HIS 
FAMILY.  Signed  and  dated:  Rembrandt  f.  1641.  First  State  [103  x 

154] 

The  figure  of  Tobit  in  reverse  is  used  by  Ferdinand  Bol  in  his  etching  of  "Gideon's 
Sacrifice". 

186.  (B.  61)  VIRGIN  fcf  CHILD  IN  THE  CLOUDS.  Signed  and  dated: 

Rembrandt  f.  1641.  Only  One  State  finally  accepted  [166  x  104] 

As  indicated  by  the  head  seen  upside  down,  another  composition  had  been  started 
on  this  plate  only  to  be  abandoned. 

187.  (B.  271)  CORNELIS  CLAESZ  ANSLO,  MENNONITE 
PREACHER.  Signed  and  dated:  Rembrandt  f.  1641.  First,  Second, 
and  Third  States  [186  x  157] 

188.  (B.  310)  PORTRAIT  OF  A  BOY  IN  PROFILE.  Signed  and  dated: 
Rembrandt  f.  1641.  Only  One  State  known  [93  x  66] 

According  to  Blanc  this  is  said  to  be  a  Portrait  of  the  young  Prince,  William  Second 
of  Orange. 

189.  (B.  261)  A  MAN  AT  A  DESK  WEARING  A  CHAIN  AND  CROSS. 

Signed  and  dated:  Rembrandt  f.  1641.  Second  and  Third  States  [154  x 
102] 

190.  (B.  136)  THE  CARD  PLAYER.  Signed  and  dated:  Rembrandt  f. 
1 641.  First,  Second,  and  Third  States  [90  x  81] 

The  Third  State  of  this  plate  again  presents  the  edifying  spectacle  of  having  been 


Catalogue  of  Etchings  35 

re-worked  by  the  "improver",  C.  H.  Watelet,  who  is  responsible  for  the  monotonous 
darkening  of  the  background,  robbing  the  plate  of  its  variety  and  vivacity  of  light 
and  shade.  He  has  signed  his  name  in  the  lower  left-hand  corner  of  the  plate.  For 
other  examples  of  "improvements"  on  Rembrandt's  original  plates  by  this  same 
person,  see  No.  50. 

I95-  (B.  3$6)  GIRL  WITH  A  BASKET.  About  1642.  Only  One  State 
known  [86  x  60] 

198.  (B.  72)  THE  RAISING  OF  LAZARUS:  THE  SMALLER  PLATE. 

Signed  and  dated:  Rembrandt  f.  1642.  First  State  [150  x  115] 

199.  (B.  82)  THE  DESCENT  FROM  THE  CROSS:  A  SKETCH. 

Signed  and  dated:  Rembrandt  f.  1642.  Only  One  State  known  [148  x 

200.  (B.  188)  THE  FLUTE  PLAYER.  Signed  and  dated  from  Second 
State  onward:  Rembrandt  f.  1642.  Fourth  State  [177  x  144] 

201.  (B.  105)  ST.  JEROME  MEDITATING  IN  A  DARK  CHAMBER. 

Signed  and  dated:  Rembrandt  f.  1642.  First,  Second,  and  Third  States 
[150  x  173] 

202.  (B.  148)  A  STUDENT  AT  A  TABLE  BY  CANDLE  LIGHT.  About 

1642.  Eighth  State  [146  x  132] 

This  plate  has  been  the  subject  of  much  discussion  as  to  its  authenticity,  Mr.  Hind 
contending  that  it  is  and  von  Seidlitz  maintaining  that  it  is  not  by  Rembrandt.  I  am 
strongly  inclined  to  agree  with  Mr.  Hind,  if  for  no  other  reason  than  that  the  figure 
in  this  composition  bears  a  striking  resemblance  to  the  portraits  of  Rembrandt  him- 
self, who  probably  served  as  its  model.  The  date  assigned  to  this  plate — 164a — 
which  is  most  likely  correct,  would  lend  a  certain  probability  to  this  assumption  if 
we  associate  the  pensive,  sad  attitude  of  the  man  with  the  death  of  Saskia  in  June 
of  the  same  year.  And  as  we  know  how  largely  the  very  material  no  less  than  the 
inspiration  of  Rembrandt's  art  came  from  within,  this  is  not  as  far-fetched  an 
assumption  as  it  might  at  first  appear.  For  confirmation  of  this  identification  com- 


36  Rembrandt  Exhibition 

pare  the  figure  in  this  plate  with  the  portrait  of  "Rembrandt  in  a  Slant  Fur  Cap"  of 
1631,  "Rembrandt  in  a  Cap  and  Scarf"  of  1633,  but  more  especially  with  the  por- 
traits of  Rembrandt  of  1648:  "The  Head  of  Rembrandt  on  a  Sheet  of  Studies", 
No.  230  of  this  catalogue,  and  "Rembrandt  Drawing  at  a  Window",  No.  229,  in 
both  of  which  the  general  contour  and  facial  expression,  especially  around  the  eyes 
and  the  mouth,  correspond  so  closely  as  to  make  it  quite  certain  that  they  all  rep- 
resent one  and  the  same  individual. 

203.  (B.  232)  THE  COTTAGE  WITH  THE  WHITE  PALING.  Signed 
and  dated:  Rembrandt  f.  1642;  the  date  only  in  the  Second  State.  First, 
Third,  and  Fourth  States  [130  x  158] 

204.  (B.  157)  THE  HOG.  Signed  and  dated:  Rembrandt  f.  1643.  First 
State  [143  x  154] 

205.  (B.  212)  THE  THREE  TREES.  Signed  and  dated:  Rembrandt  f. 

1643.  First  and  Second  States  [211  x  280] 

This  is  one  of  Rembrandt's  most  celebrated  landscapes,  ranking  in  importance  and 
interest  with  his  great  painting  entitled  "The  Mill"  in  the  Wiedner  Collection.  In 
nobility  of  conception  and  in  masterly  execution  it  is  equaled  only  by  the  greatest 
achievements  in  the  art  of  landscape  interpretation. 

205-a.  THE  THREE  TREES:  CAPTAIN  BAILLIE'S  COPY.  First 
and  Second  States. 

206.  (B.  220)  THE  SHEPHERD  AND  HIS  FAMILY.  Signed  and  dated: 
Rembrandt  f.  1644.  Only  One  State  known  [95  x  67] 

208.  (B.  57)  THE  REST  ON  THE  FLIGHT:  A  NIGHT  PIECE.  About 

1644.  Fourth  State  [92  x  59] 

209.  (B.  208)  SIX'S  BRIDGE.  Signed  and  dated:  Rembrandt  f.  1645. 
Third  State  [129  x  223] 

According  to  Gersaint  this  plate  was  etched  against  time  for  a  wager  at  the  country 
house  of  Rembrandt's  friend,  Jan  Six,  while  the  servant  was  fetching  the  mustard 


ft  s 


No.  168 — Rkmrrandt  Leaning  on  a  Stone  Sill.  1630 


Catalogue  of  Etchings  37 

from  a  neighboring  village.  As  a  tour  deforce  of  expressive  and  suggestive  draftsman- 
ship this  plate  has  been  the  admiration  of  all  great  etchers  since,  including  Whistler, 
who  paid  his  tribute  to  it. 

210.  (B.  209)  VIEW  OF  OMVAL.  Signed  and  dated:  Rembrandt  1645. 
Second  State  [185  x  225] 

One  of  the  most  charming  of  Rembrandt's  landscape  etchings,  depicting  a  bend  in 
the  River  Amstel  near  Amsterdam.  Here,  as  in  the  "Three  Trees",  he  has  introduced 
a  note  of  human  interest  in  the  figures  of  the  two  lovers  in  the  shadow  of  the  bushes 
behind  the  gnarled  old  willow  tree. 

212.  (B.  228)  LANDSCAPE  WITH  A  CANAL  AND  VESSEL  UNDER 
SAIL.  About  1645.  First  State  [140  x  207] 

213.  (B.  219)  COTTAGE  AND  FARM  BUILDING  WITH  A  MAN 
SKETCHING.  About  1645-48.  Only  One  State  known  [129  x  208] 

214.  (B.  34)  ABRAHAM  SPEAKING  TO  ISAAC.  Signed  and  dated: 
Rembrandt  1645.  Only  One  State  finally  accepted  [157  x  130] 

Very  fine  early  impression. 

215.  (B.  84)  CHRIST  CARRIED  TO  THE  TOMB.  Signed:  Rembrandt. 
About  1645.  Only  One  State  known  [130  x  107] 

216.  (B.  58)  REST  ON  THE  FLIGHT:  LIGHTLY  ETCHED.  Signed 
and  dated:  Rembrandt  f.  1645.  Only  One  State  known  [129  x  114] 

218.  (B.  147)  AN  OLD  MAN  IN  MEDITATION  LEANING  ON  A 
BOOK.  About  1645.  Second  State  [132  x  106] 

219.  (B.  170)  A  BEGGAR  WOMAN  ASKING  ALMS.  Signed  and  dated: 
Rembrandt  f.  1646.  First  State  [81  x  63] 

220.  (B.  193)  STUDY  FROM  THE  NUDE:  A  MAN  SEATED  BE- 


38  ■  Rembrandt  Exhibition 

FORE  A  CURTAIN.   Signed  and  dated:  Rembrandt  f.   1646.  First 
State  and  Intermediate  State  between  the  First  and  Second  [97  x  166] 

221.  (B.  196)  ACADEMICAL  FIGURE  OF  A  MAN  SITTING  ON 
THE  GROUND.  Signed  and  dated:  Rembrandt  f.  1646.  Second  State 
[97  x  166] 

222.  (B.  194)  ACADEMICAL  STUDIES  OF  MALE  NUDE  FIGURES. 

About  1646.  First  and  Second  States  [194  x  228] 

225.  (B.  280)  JAN  CORNELIS  SYLVIUS,  PREACHER:  POSTHU- 
MOUS PORTRAIT.  Signed  and  dated:  Rembrandt  1646.  Second 
and  a  later  variation  of  Second  State  [278  x  188] 

226.  (B.  278)  EPHRAIM  BONUS,  HEBREW  PHYSICIAN.  Signed  and 
dated:  Rembrandt  f.  1647. 

227.  (B.  277)  JAN  ASSELYN   ("CRABBETJE"),  PAINTER.  Signed 

and  dated:  Rembra[ndt]  f.   16..    (last  two  numerals  indistinct;  about 

1647).  First,  Second,  and  Third  States  [215  x  170] 

The  subject  of  this  portrait  was  a  Dutch  landscape  painter  of  the  School  of  Claude, 
who,  because  of  his  deformed  hand,  was  nicknamed  "Crabbetje". 

228.  (B.  285)  JAN   SIX   (USUALLY   CALLED   "BURGOMASTER" 

SIX).  Signed  and  dated  from  Second  State  onwards:  Rembrandt  f.  1647. 

Second  and  Third  States  [245  x  191]  • 

The  original  plate  is  in  the  possession  of  the  Six  family  in  Amsterdam,  and  five  or 
six  impressions  of  it  were  pulled  shortly  before  1870,  one  of  which  is  now  in  the  Print 
Room  in  Amsterdam.  During  a  period  of  nearly  twenty  years  Jan  Six  was  one  of 
Rembrandt's  closest  friends  and  most  active  patrons,  the  bulk  of  what  has  since 
come  to  be  known  as  the  Six  Collection  of  Rembrandts  being  acquired  by  him  at 
that  time.  It  has  remained  intact  in  the  family  ever  since  and  has  been  augmented 
from  time  to  time  with  many  important  additions,  while  the  present  bearer  of  the 


Catalogue  of  Etchings  39 

name,  Dr.  Jan  Six,  has  made  extensive  researches  into  the  life  and  art  of  Rembrandt, 
contributing  much  information  of  great  value  and  interest. 

229.  (B.  22)  REMBRANDT  DRAWING  AT  A  WINDOW.  Signed  and 
dated:  Rembrandt  f.  1648.  Fourth,  Eighth,  and  Ninth  States  [157 
x  128] 

230.  (B.  370)  SHEET  OF  STUDIES  WITH  THE  HEAD  OF  REM- 
BRANDT. Signed  with  monogram.  About  1651.  Only  One  State 
known  [111x92] 

231.  (B.  192)  THE  ARTIST  DRAWING  FROM  A  MODEL:  UNFIN- 
ISHED PLATE.  About  1648.  Second  State  [231  x  184] 

232.  (B.  103)  ST.  JEROME  READING  BESIDE  A  POLLARD  WIL- 
LOW. Signed  and  dated  in  Second  State:  Rembrandt  f.  1648.  Second 
State  [179  x  132] 

233.  (B.  176)  BEGGARS  RECEIVING  ALMS  AT  THE  DOOR  OF  A 
HOUSE.  Signed  and  dated:  Rembrandt  f.  1648.  First  and  Second 
States  [164  x  128] 

234.  (B.  126)  JEWS  IN  SYNAGOGUE.  Signed  and  dated:  Rembrandt  f. 
1648.  Second  State,  and  Intermediate  State  between  the  Second  and 
Third  [71  x  129] 

235.  (B.  112)  MEDEA:  OR  THE  MARRIAGE  OF  JASON  &  CREUSA. 

Signed  and  dated  in  Fourth  State:  Rembrandt  f.  1648.  First  andFouRTH 
States  [240  x  177] 

This  plate  was  designed  to  illustrate  a  tragedy  of  Medea  written  by  Rembrandt's 

friend,  Jan  Six,  published  in  Amsterdam  1648. 


4-0  Rembrandt  Exhibition 

236.  (B.  74)  CHRIST,  WITH  THE  SICK  AROUND  HIM,  RECEIV- 
ING LITTLE  CHILDREN  (THE  "HUNDRED  GUILDER 
PRINT").  About  1649.  Second  State  [278  x  389] 

No  more  convincing  and  satisfactory  demonstration  of  Rembrandt's  power  as  an 
etcher,  as  well  as  his  profound  insight  into  the  most  varied  types  of  human  character, 
could  well  be  desired  than  this  plate,  incomparable  alike  in  conception  and  execu- 
tion. In  the  catalogue  of  his  works  it  stands  out,  together  with  the  "Night  Watch", 
"The  Anatomy  Lesson",  "The  Syndics",  "The  Presentation  in  the  Temple",  "The 
Death  of  the  Virgin",  "The  Three  Trees",  and  "The  Mill",  as  among  the  supreme 
examples  of  his  art.  This,  the  most  famous  of  Rembrandt's  etchings,  came  to  be 
known  as  the  "Hundred  Guilder"  print  through  the  fact  of  its  having  fetched  that 
price  at  an  auction,  which  was  at  that  time  an  unheard  of  price  to  pay  for  an  etch- 
ing. An  impression  of  this  plate,  sold  in  London  at  auction  in  the  year  1870, 
fetched  ,£1:250.  This  plate  offers  perhaps  the  most  amazing  example  of  the 
astounding  impudence  of  that  English  "amateur",  Captain  Baillie,  who  ob- 
tained possession  of  it  and  after  re-working  a  portion  of  it  and  completely  altering 
the  expression  on  the  face  of  Christ  ruthlessly  cut  it  up  into  four  pieces,  the  central 
portion  with  the  figure  of  Christ  being  further  changed  and  re-worked,  and  impres- 
sions of  each  of  these  parts  being  issued  by  him  as  separate  compositions. 

237.  (B.  89)  THE  INCREDULITY  OF  THOMAS.  Signed  and  dated: 
Rembrandt  f.  1650.  Only  One  State  known  [162  x  210] 

This  "sketch"  is  a  precursor  of  Rembrandt's  later  manner,  in  which  he  tended  more 
and  more  towards  greater  freedom,  vigor,  and  openness  of  line. 

238.  (B.  235)  CANAL  WITH  AN  ANGLER  6?  TWO  SWANS.  Signed: 
Rembrandt  f.  1650.  Second  State  [82  x  107] 

239.  (B.  236)  LANDSCAPE  WITH  A  CANAL  AND  A  LARGE  BOAT. 

Signed  and  dated:  Rembrandt  f.  1650.  First  and  Second  States  [82  x 
107] 

240.  (B.  237)  LANDSCAPE  WITH  A  COW  DRINKING.  About  1650. 
First  and  Second  States  [102  x  129] 


No.  38 — The  Blind  Fiddler.  1631 


No.  9 —  Beggar  Standing  Leaning  on  a 
Stick.  About  1630-32 


Ovmfmyfl  f,fy 


No.  164 — A  Peasant  in  a  High  Cap, 

Standing,  Leaning  on  a 

Stick.  1639 


No.  139 — The  Quack  Salver 


H 


V- 


Catalogue  of  Etchings  41 

241.  (B.  224)  LANDSCAPE  WITH  A  HAYSTACK  AND  A  FLOCK  OF 
SHEEP:  ARCHED  PLATE.  Signed  and  dated:  Rembrandt  f.  1636-50. 
First  and  Second  States  [83  x  174] 

Second  State  of  this  plate,  according  to  Hind,  is  distinguished  from  the  First  only 
by  the  addition  of  "a  distant  horizon  behind  the  figures  on  left",  while  the  print  in 
Mr.  Morgan's  collection  shows  very  considerable  additional  work  all  over  the  plate. 
The  roof  of  the  little  house  at  the  end  of  the  road,  which  is  white  in  the  First  State, 
has  been  shaded  and  the  tonality  of  the  left  bank,  the  road  beyond  the  flock  of  sheep, 
the  large  clump  of  trees  to  the  left  of  the  haystack,  as  well  as  the  wide  expanse  of 
field  in  front  of  it,  together  with  the  receding  perspective  on  the  right  of  it,  have  been 
considerably  altered  by  the  addition  of  much  fine  cross-hatching.  All  of  which  would 
indicate  a  Third  State  so  far  not  listed  in  Mr.  Hind's  catalogue. 

242.  (B.  213)  LANDSCAPE  WITH  A  MILKMAN.  About  1636-50. 
First  and  Second  States  [6^  x  174] 

243.  (B.  227)  LANDSCAPE  WITH  AN  OBELISK:  ARCHED  PLATE. 

About  1650.  Second  State  [83  x  160] 

244.  (B.  223)  LANDSCAPE  WITH  TREES,  FARM  BUILDINGS,  &  A 
RUINED  TOWER.  About  1650.  Third  and  Fourth  States  [123  x  318] 

245.  (B.  218)  LANDSCAPE  WITH  A  SQUARE  TOWER:  ARCHED 
PLATE.  Signed  and  dated:  Rembrandt  f.  1650.  Third  State,  according 
to  Rovinski;  Fourth  State,  according  to  Hind  [88  x  155] 

246.  (B.  217)  THE  THREE  COTTAGES.  Signed  and  dated:  Rembrandt 
f.  1650.  Third  State  [161  x  202] 

248.  (B.  159)  THE  SHELL.  Signed  and  dated:  Rembrandt  f.  1650.  First 
and  Second  States  [97  x  132] 

The  First  State  of  this  plate  is  excessively  rare  and  is  represented  here  by  an  un- 
usually fine  early  impression. 


42  Rembrandt  Exhibition 

249.  (B.  234)  THE  GOLD  WEIGHER'S  FIELD.  Signed  and  dated: 
Rembrandt  1651. 

According  to  the  generally  accepted  tradition  this  plate  depicts  the  country  seat  of 
the  Receiver-General,  Uytenbogaert,  as  seen  from  the  house  which  lay  between 
Naarden  and  Oude  Bussum. 

250.  (B.  195)  THE  BATHERS.  Signed  and  dated:  Rembrandt  f.  1651. 
Second  State  [109  x  137] 

251.  (B.  272)  CLEMENT  DE  JONGHE,  PRINT  SELLER.  Signed  and 
dated:  Rembrandt  f.  1651.  First  and  Sixth  States  [206  x  161] 

Clement  de  Jonghe  was  established  in  Amsterdam  as  a  print  seller  and  publisher 
from  about  1640  to  79.  He  also  engraved  a  few  plates  himself.  The  inventory  made 
of  his  prints  at  the  time  of  his  death  in  1679  ls  tne  earliest  known  list  of  any  consider- 
able number  of  Rembrandt's  etchings. 

252.  (B.  42)  THE  BLINDNESS  OF  TOBIT:  LARGER  PLATE.  Signed 
and  dated  in  two  places:  Rembrandt  f.  1651.  First  State  [161  x  129] 

253-  (B.  53)  THE  FLIGHT  INTO  EGYPT:  A  NIGHT  PIECE.  Signed 
and  dated:  Rembrandt  f.  1651.  Fifth  State  [127  x  no] 

255.  (B.  46)  ADORATION  OF  THE  SHEPHERDS:  A  NIGHT  PIECE. 

About  1652.  Sixth  State  [149  x  198] 

256.  (B.  67)  CHRIST  PREACHING.  ("LA  PETITE  TOMBE").  About 
1652.  Only  One  State  accepted  [155  x  207] 

This  plate  is  entitled  "La  tombe's  little  plate"  in  the  1679  inventory  of  the  print 
seller,  Clement  de  Jonghe,  from  which  the  corruption  "La  petite  tombe",  originated 
by  Gersaint,  was  derived. 

257.  (B.  6s)  CHRIST  DISPUTING  WITH  THE  DOCTORS:  THE 
LARGER  PLATE.  Signed  and  dated:  Rembrandt  f.  1652.  First  State 
[126  x  213] 


Catalogue  of  Etchings  43 

258.  (B.  41)  DAVID   IN  PRAYER.  Signed  and  dated:  Rembrandt   f. 

1652.  First,  Second,  and  Third  States. 

259.  (B.  131)  A  PEASANT  FAMILY  ON  A  TRAMP.  About  1652.  First 
State  [112  x  92] 

260.  (B.  270)  DR.  FAUSTUS  IN  HIS  STUDY  WATCHING  A  MAGIC 
DISK.  About  1647-52.  Second  State,  and  Intermediate  State  between 
the  Second  and  Third  States  [209  x  161] 

261.  (B.  11)  TITUS  VAN  RYN,  REMBRANDT'S  SON.  About  1652-56. 
Only  One  State  known  [101  x  72] 

263.  (B.  222)  A  CLUMP  OF  TREES  WITH  A  VISTA.  Signed  and  dated: 
Rembrandt  f.  1652.  Second  State  [124  x  210] 

264.  (B.  221)  LANDSCAPE  WITH  A  ROAD  BESIDE  A  CANAL. 

About  1640-52.  First  and  Second  States  [74-79  x  209] 

266.  (B.  56)  THE  FLIGHT  INTO  EGYPT;  CALLED  IN  THE  STYLE 
OF  ELSHEIMER:  altered  from  Tobias  and  the  Angel  by  Hercules  Seg- 
hers  as  represented  in  the  First  State.  Alteration  by  Rembrandt  about 

1653,  marking  the  Second  State.  Fourth  and  Sixth  States  [213  x  284] 
The  original  etching  by  Seghers  was  an  adaptation  from  an  engraving  by  Hendrik 
Goudt  after  a  picture  by  Adam  Elsheimer,  now  in  the  National  Gallery,  London. 
The  changes  wrought  by  Rembrandt  so  materially  alter  the  whole  character  of  the 
composition  as  to  place  it  in  the  category  of  his  original  works.  In  the  original 
version  of  this  plate  the  figures  of  Tobias  and  the  Angel  were  out  of  all  proportion  to 
the  landscape,  and  they  have  been  entirely  deleted  by  Rembrandt,  who  replaced 
them  with  Joseph  and  Mary  on  the  Ass,  filling  in  the  intervening  space  with  a 
clump  of  trees  etched  in  his  boldest  manner,  thus  attaining  a  finer  balance  in  the 
whole  composition. 


44  Rembrandt  Exhibition 

267.  (B.  104)  ST.  JEROME  READING  IN  AN  ITALIAN  LAND- 
SCAPE. About  1653-57.  First  and  Second  States  [260  x  207] 

According  to  Seymour  Haden,  the  landscape  with  the  buildings  was  suggested  to 
Rembrandt  by  Titian  or  Campagnola.  The  original  study  for  this  plate  is  in  the 
collection  of  the  Kunsthalle,  Hamburg. 

268.  (B.  264)  JAN  ANTONIDES  VAN  DER  LINDEN,  PROFESSOR  OF 
MEDICINE  AT  THE  UNIVERSITY  OF  LEYDEN.  Dated  1665. 
Fifth  and  Sixth  States.  Measurement  of  this  plate  varies  between 
[124  x  149  and  105] 

The  impression  from  the  Fifth  State  in  this  collection  carries  an  inscription  written 
in  ink  in  XVII-century  handwriting  which  may  possibly  be  by  Rembrandt  himself, 
reading:  "Dr.  van  der  Linden",  followed  by  what  appears  to  be  a  date  now  quite 
illegible.  The  impression  from  the  Sixth  State  of  the  plate  in  this  collection  carries 
the  following  carefully  lettered  inscription  in  the  panel  below  the  portrait: 
"Johannes  Antonides  van  der  Linde[n] 
Medicinae  Doctor  de  Inspector 
Collegii  Med:  Amstel 
Deinde 
Professor  in  Academia  Lugd.  Bat". 
This  plate  was  etched  by  Rembrandt  as  a  frontispiece  to  one  of  van  der  Linden's 
works  on  medicine  and  was  based  on  the  portrait  by  Abraham  van  den  Tempel, 
dated  1660,  now  in  The  Hague,  which  Rembrandt  rather  freely  adapted,  suppressing 
the  conventional  curtain  in  the  background,  and  the  right  hand,  which  is  a  distract- 
ing incident  in  the  original.  No  copies  of  the  book  in  question  have  so  far  been 
found  to  contain  an  impression  of  the  plate,  which  was  evidently  never  used  for  the 
purpose  intended. 

269.  (B.  282)  LIEVEN  WILLEMSZ  VAN  COPPENOL,  WRITING- 
MASTER:  THE  SMALLER  PLATE.  About  1636-53.  Second  State 
[257x189] 

270.  (B.  78)  CHRIST  CRUCIFIED  BETWEEN  THE  TWO  THIEVES 
("THE  THREE  CROSSES"):  LARGE  OBLONG  PLATE.  Signed  and 


No.  227 — Jan  Asselyn  ("Crabbetje")  Painter.  About  1647 


No.  228 — Jan  Six  (usually  called  "Burgomaster"  Six).  1647 


Catalogue  of  Etchings  45 

dated  from  the  Third  State:  Rembrandt  f.  1653.  First,  Second,  and 

Fourth  States  [385  x  450] 

Hardly  anywhere  in  Rembrandt's  whole  opus  is  the  progression  and  development  of 
his  ideas  so  clearly  and  dramatically  marked  as  in  this  extraordinary  interpretation 
of  the  tragic  scene  enacted  on  Golgotha,  the  final  stage  of  which  is  presented  in  the 
Fourth  State  of  the  plate  with  a  dramatic  force  and  poignancy  unrivaled  in  the  whole 
history  of  art.  It  is  the  apotheosis  of  suffering  expressed  with  an  intensity  that  finds 
its  parallel  only  in  mad  King  Lear  on  the  Heath  and  the  blind  Oedipus  fumbling  his 
way  into  oblivion.  The  transformation  wrought  in  the  plate  from  the  First  to  the 
Last  State  is  as  marked  an  exhibition  of  virtuosity  in  the  handling  of  a  copper  plate 
as  of  graphic  visualization  of  a  powerfully  conceived  idea  carried  to  its  ultimate 
expression. 

271.  (B.  76)  CHRIST  PRESENTED  TO  THE  PEOPLE:  LARGE  OB- 
LONG PLATE.  Signed  and  dated:  (from  VI  State) :  Rembrandt  f.  1655. 
First  and  Eighth  States  [383  (I  and  II)  and  357  (III  etc.)  x  455] 

This  plate,  a  pendant  to  "The  Three  Crosses"  in  conception  and  execution,  offers 
another  striking  illustration  of  Rembrandt's  power  of  self-criticism  in  the  progressive 
development  of  his  ideas.  In  the  Final  State  of  this  plate  he  has  eliminated  the  group 
of  on-lookers  in  the  foreground,  allowing  the  spectator  of  his  work  to  take  their 
place,  thereby  achieving  a  greater  structural  concentration  in  the  composition. 
The  effect  of  this  simplification  is  quite  magical,  throwing  into  strong  relief  the  full 
significance  of  the  "Ecce  Homo".  By  such  master  strokes  the  creative  mind  of 
Rembrandt  is  revealed  to  us  in  its  full  potency,  and  only  in  his  etchings  are  we  per- 
mitted to  observe  this  generating  process  at  work  through  its  various  stages  of 
development. 

272.  (B.  125)  THE  GOLF  PLAYER.  Signed  and  dated:  Rembrandt  f. 
1654.  First  State  [96  x  144] 

273.  (B.  45)  THE  NATIVITY.  Signed:  Rembrandt  f.  About 1654.  First 
State  [105  x  129] 

274.  (B.  47)  THE  CIRCUMCISION  (IN  THE  STABLE).  Signed  and 
dated:  Rembrandt  f.  1654.  First  State — two  Variants  [94  x  144] 


46  Rembrandt  Exhibition 

275.  (B.  63)  THE  HOLY  FAMILY  "WITH  THE  SERPENT".  Signed 
and  dated:  Rembrandt  f.  1654.  First  State  [94  x  143] 

276.  (B.  55)  THE  FLIGHT  INTO  EGYPT:  THE  HOLY  FAMILY 
CROSSING  A  BROOK.  Signed  and  dated:  Rembrandt  f.  1654.  Only 
One  State  known  [94  x  144] 

This  is  a  brilliant  early  impression. 

277.  (B.  64)  CHRIST  SEATED  DISPUTING  WITH  THE  DOCTORS. 

Signed  and  dated:  Rembrandt  f.  1654.  First  and  Second  States  [95  x  144] 

278.  (B.  60)  CHRIST  &  HIS  PARENTS  RETURNING  FROM  JE- 
RUSALEM. Signed  and  dated:  Rembrandt  f.  1654.  Only  One  State 
known  [94  x  144] 

This  is  a  very  early  and  unusually  fine  impression  of  this  plate. 

279.  (B.  50)  THE  PRESENTATION  IN  THE  TEMPLE:  IN  REM- 
BRANDT'S DARK  MANNER.  About  1654.  Only  One  State  known 
[210  x  162] 

The  impression  of  the  plate  in  this  collection  is  a  particularly  fine  one  on  Japanese 
paper. 

280.  (B.  83)  THE  DESCENT  FROM  THE  CROSS  BY  TORCHLIGHT. 

Signed  and  dated:  Rembrandt  f.  1654.  First  State  [210  x  161] 

281.  (B.  86)  THE  ENTOMBMENT.  About  1654.  First  and  Third 
States  [211  x  161] 

282.  (B.  87)  CHRIST  AND  THE  DISCIPLES  AT  EMMAUS:  THE 
LARGER  PLATE.  Signed  and  dated:  Rembrandt  f.  1654.  First  and 
Second  States  [209  x  159] 


Catalogue  of  Etchings  47 

283.  (B.  3$)  ABRAHAM'S  SACRIFICE.  Signed  and  dated:  Rembrandt 
f.  1655..  Only  One  State  [156  x  131] 

Very  fine  early  impression  with  much  burr. 

284.  (B.  36)  FOUR  ILLUSTRATIONS  TO  A  SPANISH  BOOK.  Signed 
and  dated:  Rembrandt  f.  1655. 

A.  THE  IMAGE  SEEN  BY  NEBUCHADNEZZAR.  Second,  Third, 
and  Fifth  States. 

B.  JACOB'S  LADDER.  First  and  Third  States. 

C.  DAVID  AND  GOLIATH.  First  and  Second  States. 

D.  DANIEL'S  VISION  OF  FOUR  BEASTS.   Second  and  Third 
States. 

These  illustrations  were  made  for  a  book  in  Spanish  entitled  "Piedra  Gloriosa  o  de  la 
Estatua  de  Nebuchadnesar"  by  Rembrandt's  friend,  Samuel  Manasseh  Ben  Israel. 
It  was  published  in  Amsterdam  in  1655;  copies  of  the  book  containing  the  original 
plates  are  excessively  rare. 

285.  (B.  123)  THE  GOLDSMITH.  Signed  and dated:  Rembrandt  f.  1655. 
First  State  [77  x  57] 

286.  (B.  29)  ABRAHAM  ENTERTAINING  THE  ANGELS.  Signed 
and  dated:  Rembrandt  f.  1656.  Only  One  State  known  [159  x  131] 

287.  (B.  274)  JACOB  HAARING  (THE  "OLD  HAARING").  About 
1655.  Second  State  [195  x  149] 

288.  (B.  275)  THOMAS  JACOBSZ  HAARING  (THE  "YOUNG  HAAR- 
ING"). Signed  and  dated:  Rembranfdt]  f.  1655.  First  State  [197  x  148] 
and  Fifth  State  [118  x  105] 


48  Rembrandt  Exhibition 

289.  (B.  284)  ARNOLD  THOLINX,  INSPECTOR  OF  MEDICAL  COL- 
LEGES AT  AMSTERDAM.  About  1656.  First  State  [198  x  149] 

This  impression  is  one  of  the  few  excessively  rare  impressions  of  the  First  State, 
known  to  be  represented  only  in  the  British  Museum  and  Rothschild  Collections. 
This  early  impression  is  of  the  greatest  comparative  value  by  reason  of  the  strength 
of  the  burr,  which  gives  to  this  proof  a  richness  and  vitality  considerably  abated  in 
later  impressions  after  the  Second  State. 

290.  (B.  276)  JAN  LUTMA,THEELDER,GOLDSMITHAND SCULP- 
TOR. Signed  and  dated  from  the  Second  State  onwards:  Rembrandt  f. 
1656.  First  and  Second  States  [197  x  148] 

291.  (B.  273)  ABRAHAM  FRANCZ,  ART  DEALER.  About  1656  or 
later.  Fourth,  Seventh,  and  Eighth  States  [152  x  208] 

292.  (B.  107)  ST.  FRANCIS  PRAYING  BENEATH  A  TREE.  Signed 

and  dated  in  two  places:  Rembrandt  f.  1657.  First  and  Second  States 
[180  x  244] 

The  impression  from  the  First  State  of  this  plate  in  this  collection  is  printed  on  very 

heavy  parchment. 

293-  (B.75)  THE  AGONY  IN  THE  GARDEN.  Signed  and  dated:  Rem- 
brandt f.  165-  {about  1657).  Only  One  State  known  [118  x  83] 

294.  (B.  70)  CHRIST  AND  THE  WOMAN  OF  SAMARIA:  THE 
ARCHED  PLATE.  Signed  and  dated  on  the  Third  State:  Rembrandt  f. 
1658.  Third  and  Fourth  States  [125  x  160] 

295.  (B.  no)  ALLEGORICAL  PIECE  CALLED  THE  PHOENIX. 
Signed  and  dated:  Rembrandt  f.  1658.  Only  One  State  known  [180  x 

183] 

The  meaning  of  this  plate  has  been  variously  interpreted  as  signifying  the  Dutch 


No.  229 — Rembrandt  Drawing  at  a  Window.  1648 


No.  231 — The  Artist  Drawing  from  a  Model  :  unfinished  plate.  About  1648 


Catalogue  of  Etchings  49 

victory  over  the  Spanish  at  Dunes  in  1658,  as  symbolizing  the  final  triumph  and 
union  of  the  States  of  Holland,  and  as  an  allegory  of  Death  and  Immortality. 

296.  (B.  197)  A  WOMAN  SITTING  HALF  DRESSED  BESIDE  A 
DUTCH  STOVE.  Signed  and  dated:  Rembrandt  f.  1658.  Third  and 
Seventh  States  [228  x  186] 

297.  (B.  199)  WOMAN  PREPARING  TO  DRESS  AFTER  BATHING. 

Signed  and  dated:  Rembrandt  f.  1658.  First  and  Second  States  [157 
x  128] 

298.  (B.  200)  A  NUDE  WOMAN  WITH  HER  FEET  IN  WATER. 

Signed  and  dated:  Rembrandt  f.  1658.  Only  One  State  known  [159  x  80] 

299.  (B.  205)  NUDE  NEGRESS  RECLINING,  SEEN  *  FROM  BE- 
HIND. Signed  and  dated:  Rembrandt  f.  1658.  Second  and  Third  States 
[80  x  157] 

300.  (B.  283)  LIEVEN  WILLEMSZ  VAN  COPPENOL,  WRITING- 
MASTER:  THE  LARGER  PLATE.  About  1658.  Fourth,  Fifth 
States  [341  x  290],  and  Sixth  State,  the  Head  only  [159  x  133];  the 
plate  reduced,  according  to  von  Seidlitz,  shortly  before  1770. 

The  long  Latin  inscription  on  the  impression  of  the  Fourth  State  of  this  plate  in 
Mr.  Morgan's  Collection  is  written  by  Coppenol  himself,  furnishing  an  excellent 
example  of  this  famous  writing-master's  penmanship.  The  inscription  is  signed  by 
him  in  the  lower  left-hand  corner  as  follows:  "L.  van  Coppenol,  scripsit  ano.  1661 
aetatis  62".  Other  impressions  with  inscriptions  by  Coppenol  are  to  be  found  in 
Amsterdam  (dated  1661)  and  in  the  British  Museum  (dated  1664).  A  painting  by 
Rembrandt  of  the  same  subject  and  of  almost  the  same  size,  in  Lord  Ashburton's 
Collection,  probably  served  as  the  basis  of  the  etching. 

301.  (B.  94)  PETER  AND  JOHN  HEALING  THE  CRIPPLE  AT  THE 


50  Rembrandt  Exhibition 

GATE  OF  THE  TEMPLE.  Signed  and  dated:  Rembrandt  f.   1659. 
Second  and  Third  States  [179  x  216] 

302.  (B.  203)  JUPITER  &ANTIOPE:  THE  LARGER  PLATE.  Signed 
and  dated:  Rembrandt  f.  1659.  First  State  (two  impressions)  [139  x 
205] 

The  attitude  of  Antiope  in  this  plate  is  strongly  reminiscent  of  the  painting  of  the 
same  subject  by  Correggio  in  the  Louvre,  with  which  Rembrandt  may  have  been 
familiar  through  some  drawing  or  copy  brought  back  to  Holland  by  a  painter  friend. 

303.  (B.  202)  THE  WOMAN  WITH  THE  ARROW.  Signed  and  dated: 
Rembrandt  f.  1661.  Second  and  Third  States  [203  x  123] 

This  plate,  made  eight  years  before  he  died,  is  the  last  of  Rembrandt's  dated  etch- 
ings, for  which  a  preparatory  drawing  is  to  be  found  in  the  British  Museum. 

304.  (B.  3)  REMBRANDT  WITH  FALCON.  About  1632-34.  Second 
State  [126  x  98] 

This  is  one  of  the  disputed  plates,  rejected  by  Mr.  Hind  and  accepted  by  Dr.  Jan 
Six,  who  suggests  that  the  ineffective  result  may  possibly  be  accounted  for  if  one 
supposes  that  Rembrandt  was  working  after  some  lost  picture. 

308.  (B.  93)  THE  BEHEADING  OF  ST.  JOHN  THE  BAPTIST.  Signed 
with  monogram.  Third  and  Fourth  States  [158  x  124] 

This  is  among  the  plates  rejected  by  Mr.  Hind  but  accepted  by  Bartsch,  von  Seid- 
litz,  and  Dr.  Jan  Six,  who  defend  its  authenticity  as  an  early  work  of  1629-30. 

310.  (B.  108)  THE  HOUR  OF  DEATH.  About  1634-40.  Second  State, 
and  Intermediate  State  between  the  Second  and  Third  [138  x  89] 

This  is  among  the  plates  rejected  by  Mr.  Hind  but  accepted  by  Bartsch,  von  Seid- 
litz  and  Dr.  Jan  Six.  It  has  been  attributed  to  Ferdinand  Bol,  who  was  actively  at 
work  at  the  time  of  the  appearance  of  the  book  by  J.  H.  Krul,  "Pampiere  Wereld", 
in  which  the  etching  was  published  in  Amsterdam  in  1644. 


Catalogue  of  Etchings  5  1 

312.  (B.  127)  A  WOMAN  CUTTING  HER  MISTRESS'S  TOE  NAILS. 

(BATHSHEBA?).  Second  State  [124  x  95] 

This  plate  is  listed  among  the  "rejected  etchings"  by  Mr.  Hind,  who  attributes  it  to 
Ferdinand  Bol,  while  Dr.  Jan  Six  accepts  it  as  by  Rembrandt,  contending  that  it  is 
a  copy  by  him  from  a  painting  at  Rennes,  dated  1632  (Bode,  558). 

314.  (B.  137)  OLD   MAN   IN  A  TURBAN   STANDING  WITH  A 

STICK.  Only  One  State  known  [138  x  108] 

This  plate  was  rejected  by  Mr.  Hind  and  accepted  by  Dr.  Jan  Six  as  an  authentic 
work  of  Rembrandt. 

324.  (B.  214)  VILLAGE  WITH  TWO  GABLED  COTTAGES  ON  A 

CANAL.  Only  One  State  known  [$6  x  174] 

This  plate  is  among  those  rejected  by  Mr.  Hind,  who  attributes  it  to  Jacob  Koninck, 
with  which  I  am  very  strongly  inclined  to  agree.  The  weak,  characterless  drawing 
certainly  places  it  outside  of  the  category  of  Rembrandt's  works,  nor  can  it  be  even 
included  among  the  plates  executed  in  his  studio  by  his  pupils  and  collaborateurs. 
The  same  applies  to  the  following. 

325.  (B.  215)  LANDSCAPE  WITH  A  COACH.  Only  One  State  known 
[64  x  177] 

In  the  same  category  as  the  foregoing. 

353-  (B.  308)  BUST  OF  A  MAN  WITH  THICK  LIPS.  About  1631. 

Second  State,  and  Intermediate  State  between  the  Second  and  Third 

[75  x  60] 

This  is  among  the  plates  rejected  by  Hind,who  attributes  it  to  Jan  Lievens.  Bartsch, 
Rovinski,  and  von  Seidlitz  catalogue  it  as  by  Rembrandt. 

354.  (B.  318)  PHILOSOPHER  WITH  AN  HOUR-GLASS   (WOOD- 
CUT). About  1630.  {^  x  50] 

Hind  attributes  this  to  Jan  Lievens,  while  Bartsch,  Rovinski,  and  von  Seidlitz 
accept  it  as  being  by  Rembrandt. 


52  Rembrandt  Exhibition 

36l.  (B.  341)  SO-CALLED  STUDY  FOR  "THE  GREAT  JEWISH 
BRIDE".  Second  and  Third  States  [135  x  97] 

Rejected  by  all  authorities  except  Bartsch,  and  attributed  by  Rovinski  to  Bol. 

364.  (B.  357)  THE  WHITE  NEGRESS.  Signed  with  monogram  in  re- 
verse on  First  State  [112  x  83],  Second  State  [98  x  77] 

This  plate  is  rejected  by  Mr.  Hind,  who  believes  he  sees  in  it  the  manner  of  Jan 
Lievens,  while  it  is  accepted  by  Dr.  Jan  Six,  who,  however,  admits  the  Lievens-like 
style. 

B.      DRAWINGS 

The  numbers  in  parentheses  refer  to  the 
Morgan  numbers 

365.  (M.  1)  FIVE  STUDIES  OF  MEN'S  HEADS.  Pen  and  Bistre. 

366.  (M.  179)  SKETCH  OF  A  WOMAN'S  HEAD  AND  OF  A  WOMAN 
HOLDING  A  BABY.  Pen  and  Bistre. 

367.  (M.  180)  STUDIES  OF  A  WOMAN  ASLEEP  IN  BED.  Pen  and 
Bistre. 

368.  (M.  181)  DEATH  OF  THE  VIRGIN.  Preliminary  Study  for  the 
etching  of  the  same  title.  Pen  and  Bistre  and  Bistre  wash. 

369.  (M.  183)  THE  BLINDNESS  OF  TOBIT.  Preliminary  Study  for 
the  etching  of  the  same  title.  Pen  and  Bistre  and  Bistre  wash. 

370.  (M.  184)  ACHILLES  AND  BRISEIS.  Pen  and  Bistre. 

371.  (M.  185)  JOSEPH  INTERPRETING  THE  DREAMS  OF  THE 
OFFICERS  OF  PHARAOH.  Preliminary  Study  for  the  etching  of 
Joseph  Telling  His  Dreams.  Brush  and  Bistre. 


y,jsc 


No.  230 — Sheet  of  Studies  with  the  Head  of  Rembrandt.  About  1651 


Catalogue  of  Etchings  53 

372.  (M.  186)  ADAM  AND  EVE  AFTER  THE  FALL.  Preliminary 
Study  for  the  etching  of  Adam  and  Eve.  Pen  and  Bistre. 

373.  (M.  187)  JACOB'S  DREAM.  Pen  and  Bistre  and  Bistre  wash. 

374.  (M.  189)  CHRIST  MOCKED.  Pen  and  Bistre. 

375-  (M.  190)  SKETCH  OF  A  MAN  IN  A  FUR  CAP  AND  THREE 
VIEWS  OF  A  WOMAN  HOLDING  A  BABY.  Pen  and  Bistre. 

376.  (M.    193)  TOBIT   RECEIVING  HIS   FATHER'S   BLESSING. 

Pen  and  Bistre  and  Bistre  wash. 

377.  (M.  195)  ABRAHAM  DISMISSING  HAGAR.  Preliminary  Study 
for  the  etching  of  Abraham  sending  away  Hagar  and  Ishmael.  Brush  and 
Bistre. 

378.  (M.  196)  ESTHER  AND  MORDECAI.  Brush  and  Bistre  and 
Bistre  wash. 

379.  (M.  197)  DEPARTURE  OF  THE  ANGEL  FROM  THE  FAMILY 
OF  TOBIT.  Study  for  the  etching  of  Angel  Departing  from  Tobit  and 
His  Family.  Pen  and  Bistre. 

400.  (M.  199)  WOMAN  ASLEEP  IN  A  CHAIR.  Brush  and  Bistre  and 
Bistre  wash. 

401.  (M.  204)  TWO  STUDIES  OF  CAMELS.  Pen  and  Bistre  and  Bistre 
wash. 


BIBLIOGRAPHY 

All  the  books  starred  (*)  in  the  following  list  may  be  consulted  in  the  San  Francisco 
Public  Library;  most  of  the  rest  are  available  in  the  Congressional 
Library,  Washington,  D.  C.    - 

GENERAL 

Baldinucci,  F.    Cominciamentoeprogressodeirartedeirintagliareinrame.  Florence.  1686. 

*Bell,  Malcolm.    Rembrandt.    London.  1901. 

*Blanc,  Charles.    L'oeuvre  complet  de  Rembrandt.    Paris. 

*Bode,  Wilhelm.  Great  masters  of  Dutch  and  Flemish  painting,  by  W.  Bode,  translated 
by  Margaret  L.  Clarke.    London.  1909. 

Bode,  W.  and  Groot,  C.  H.  de.  The  Complete  Work  of  Rembrandt  (reproduced  in  photo- 
gravure). 7  vols.  Paris.  1897-1902.  Eighth  supplementary  vol.,  containing  biography 
and  documents,  1906. 

*Breal,  Auguste.    Rembrandt;  a  critical  essay  by  Auguste  Breal.    London.  1902. 

*Brown,  Gerard  Baldwin.    Rembrandt;  a  study  of  his  life  and  work.    London.  1907. 

♦Caffin,  Charles  Henry.    The  story  of  Dutch  painting.    New  York.  1909. 

*Carrington,  Fitzroy,  ed.  Prints  and  their  makers.  Essays  on  engravers  and  etchers 
old  and  modern.    New  York.  191 2. 

*Cole,  Timothy.  Old  Dutch  and  Flemish  masters,  engraved  by  Timothy  Cole,  with  critical 
notes  by  John  C.  van  Dyke,  and  comments  by  the  engraver.    New  York.  191 1. 

*Cundall,  Joseph,  ed.  The  life  and  genius  of  Rembrandt.  The  most  celebrated  of  Rem- 
brandt's etchings;  thirty  photographs  taken  from  the  collections  in  the  British  Museum, 
and  in  the  possession  of  Mr.  Seymour  Haden.  With  descriptions,  and  a  discourse  on 
the  life  and  genius  of  Rembrandt  by  Dr.  Scheltema,  of  Amsterdam.    London.  1867. 

*Fromentin,  Eugene.    Les  maitres  d'autrefois.  Belgique-Hollande.    Paris.  1910. 

*Fromentin,  Eugene.  The  old  masters  of  Belgium  and  Holland.  Translated  by  Mrs.  Mary 
C.  Robbins.    Boston.  1882. 

Groot,  C.  Hofstede  de.    Die  Urkunden  liber  Rembrandt  (1575-1721).  The  Hague.  1906. 


Bib  li  og  rap  hy  55 


*Haden,  Sir  Francis  Seymour.  The  etched  work  of  Rembrandt.  A  monograph.  London. 
1879. 

*Hamerton,  Philip  Gilbert.    Etching  and  etchers.    London.  1880. 

*Hamerton,  Philip  Gilbert.    The  etchings  of  Rembrandt.    London.  1894. 

*Havard,  Henry.    The  Dutch  school  of  painting.  Translated  by  G.  Powell.    London.  1885. 

*Hind,  Arthur  Mayger.    Rembrandt,  with  a  complete  list  of  his  etchings.    London.  1912. 

*Hind,  Arthur  Mayger.  Rembrandt's  etchings;  an  essay  and  a  catalogue,  with  some  notes 
on  the  drawings.    London.  191 2. 

*Holmes,  Charles  John.    Notes  on  the  art  of  Rembrandt.    London.  191 1. 

Houbraken,  A.  De  Groote  Schouburgh.    Amsterdam.  1718-21. 

*Knackfuss,  Hermann.     Rembrandt.     Bielefeld  und  Leipzig.  1907. 

*Knackfuss,  Hermann.  Rembrandt,  by  H.  Knackfuss,  translated  by  Campbell  Dodgson. 
Bielefeld  and  Leipzig.  1899. 

*Macfall,  Haldane.  A  history  of  painting,  by  Haldane  Macfall,  with  a  preface  by  Frank 
Brangwyn.     London.  191 1.  v.  5  The  Dutch  genius. 

*Menpes,  Mortimer.  Rembrandt,  by  Mortimer  Menpes.  With  an  essay  on  the  life  and 
work  of  Rembrandt  by  C.  Lewis  Hind.    London.  1905. 

*Michel,  Emile.  Rembrandt;  his  life,  his  work  and  his  time.  From  the  French  by  Flor- 
ence Simmonds.  Edited  by  Frederick  Wedmore.    London.  1903. 

*Mollett,  John  William.    Rembrandt.    London.  1879. 

Neumann,  Karl.    Rembrandt.    Berlin  and  Stuttgart.  1902. 

*Rosenberg,  Adolf.    Rembrandt.    Stuttgart  und  Leipzig.  1906. 

*Salaman,  Malcolm  Charles.  The  great  painter-etchers  from  Rembrandt  to  Whistler. 
London.  1914. 

Sandrart,  Joachim  von.    Teutsche  Academic    Nuremberg.  1675. 

*Singer,  Hans  Wolfgang.    Rembrandt.     Stuttgart  und  Leipzig.  1906. 

*Smith,  John.  A  catalogue  raisonne  of  the  works  of  the  most  eminent  Dutch,  Flemish,  and 
French  painters;  in  which  is  included  a  short  biographical  notice  of  the  artists,  with  a 
copious  description  of  their  principal  pictures;  a  statement  of  the  prices  at  which  such 
pictures  have  been  sold  at  public  sales  on  the  continent  and  in  England;  a  reference  to 


56 


Rembrandt  Exhibition 


the  galleries  and  private  collections  in  which  a  large  portion  are  at  present;  and  the 
names  of  the  artists  by  whom  they  have  been  engraved;  to  which  is  added  a  brief  notice 
of  the  scholars  and  imitators  of  the  great  masters  of  the  above  schools.  9V.  London. 
1829-42. 

*U.  S.  Library  of  Congress.  Division  of  prints.  Catalog  of  the  Gardiner  Greene  Hubbard 
collection  of  engravings,  presented  to  the  Library  of  Congress  by  Mrs.  Gardiner  Greene 
Hubbard.  Compiled  by  Arthur  Jeffrey  Parsons,  Chief  of  Division  of  Prints.  Wash- 
ington. 1905. 

*Valentiner,  Wilhelm  Reinhold.  The  art  of  the  Low  Countries;  studies  by  Wilhelm  R. 
Valentiner;  translated  by  Mrs.  Schuyler  Van  Rennsselaer.     Garden  City.  1914. 

Veth,  Jan.     Rembrandt's  Leven  en  Kunst.     Amsterdam,  1906. 

Vosmaer,  C.  Rembrandt  Harmensz  van  Ryn.  Ses  Precurseurs  et  ses  annees  d'appren- 
tissage.    The  Hague,  1863. 

Wurzbach,  A.  von.  Niederlandisches  Kunstnerlexicon.  Vienna  and  Leipzig,  vol.  II.,  1908 
(article  on  Rembrandt  containing  list  of  paintings,  drawings,  etchings,  and  engraved 
reproductions,  and  a  bibliography). 

SELECTED  LIST  OF  THE  MOST  IMPORTANT 
WORKS  ON  THE  ETCHINGS 

A.       GENERAL  CATALOGUES 

Bartsch,  Adam.  Catalogue  raisonne  de  toutes  les  estampes  qui  forment  l'ceuvre  de  Rem- 
brandt, et  ceux  de  ses  principaux  imitateurs.  Compose  par  Gersaint,  Helle,  Glomy  et 
Yver.  Nouvelle  edition  entierement  refondue,  corrigee  et  considerablement  augmentee 
par  Adam  Bartsch.     Vienne.  1797.  8°. 

Blanc,  Charles.  L'ceuvre  complet  de  Rembrandt  decrit  et  commente.  Catalogue  raisonne 
de  toutes  les  estampes  du  maitre  et  de  ses  peintures,  orne  de  bois  graves  et  de  40  eaux- 
fortes  (de  Flameng)  par  M.  Charles  Blanc.  2  vols.     Paris.  1859-61.  8°. 

Blanc,  Charles.  [Another  edition]  .  .  .  orne  de  40  eaux-fortes  de  Flameng  et  de  35  helio- 
gravures d'Amand  Durand.  2  vols.  Paris.  1873.  4°.  (Practically  the  same  in  text  as 
previous  entry.) 

Blanc,  Charles.  [Another  edition.]  L'ceuvre  de  Rembrandt  .  .  .  Ouvrage  comprenant 
la  reproduction  de  toutes  les  estampes  .  .  .  executee  sous  la  direction  de  M.  Firmin 
Delangle.  (Text  in  1  vol.;  plates  in  a  smaller  and  a  larger  folio.)  Paris.  1880.  Fol. 
(The  heliogravures  by  H.  Gamier.  Text  revised.  The  same  numbers  hold  good,  but 
notes  are  added  suppressing  6  entries  [194,  247,  287,  306,  307,  339]  one  of  the  suppressed 
Nos.  [339]  being  replaced  by  another  etching.) 


ip& 


No.  290 — Jan  Lutma,  the  Elder,  GoLnsMiTH  and  Sculptor.  1656 


Bib  liograp  hy  57 


Gersaint,  Edme  Francois.  Catalogue  raisonne  de  toutes  les  pieces  qui  forment  l'oeuvre 
de  Rembrandt,  compose  par  feu  M.  Gersaint  et  mis  au  jour  avec  les  augmentations 
necessaires  par  les  sieurs  Helle  et  Glomy.    Paris.  1751.  8°. 

Rovinski,  Dmitri.  L'oeuvre  grave  de  Rembrandt.  Reproductions  des  planches  dans  tous 
leurs  etats  successifs.  1000  phototypies  sans  retouches.  Avec  un  catalogue  raisonne. 
(Text  i  vol.;  plates,  3  vols.)  St.  Petersburg.  1890.  [Rovinski's  own  collection,  re- 
ferred to  frequently  in  the  following  catalogue,  was  bequeathed  to  the  Hermitage 
Gallery,  St.  Petersburg,  in  1895.] 

L'ceuvre  grave  des  eleves  de  Rembrandt  et  des  maitres  qui  ont  grave  dans  son  goflt. 
478  phototypies  sans  retouches.    Avec  un  catalogue  raisonne.    St.  Petersburg.  1894. 

Seidlitz,  Woldemar  von.  Kritisches  Verzeichniss  der  Radierungen  Rembrandts,  zugleich 
eine  Anleitung  zu  deren  Studium.  Leipzig.  1895.  %°-  (For  Nachtrage,  see  Repertorium 
fur  Kunstwissenschaft,  xxii.  208,  xxx.  231,  367.) 

Singer,  Hans  Wolfgang.  Rembrandt's  Radierungen  in  402  Abbildungen.  "Klassiker  der 
Kunst",  Stuttgart.  1906.  (2nd  ed.  408  Abbildungen,  1910.)  For  shorter  lists  of  the 
etchings  see  I.  (c),  Hind,  1907;  III.  Vosmaer,  1868,  etc.  III.  Michel,  1893. 
See  also  P.  J.  Mariette,  Catalogue  des  ceuvres  de  Rembrandt.  Manuscript  (Tome  VII. 
des  notes  de  Mariette  sur  les  peintres  et  graveurs)  in  the  Bibliotheque  Nationale,  Paris 
[about  1750]. 

B.       CATALOGUES   AND    NOTICES   OF   EXHIBITIONS 
AND   COLLECTIONS 

Baltimore  (U.  S.  A.),  Peabody  Institute.  Second  Exhibition  of  Prints  from  T.  Harrison 
Garrett's  Collection.    Works  of  Rembrandt  and  Wille.  1886-7.    Baltimore.  1886.  8°. 

Boston  (U.  S.  A.),  Museum  of  Fine  Arts.  Exhibition  of  the  Etched  Work  of  Rembrandt 
and  of  Artists  of  his  Circle,  principally  from  the  Collection  of  Mr.  H.  F.  Sewall.  Intro- 
duction by  S.  R.  Koehler,  Boston.  1887.  8°. 

London,  Burlington  Fine  Arts  Club.  Catalogue  of  the  Etched  Work  of  Rembrandt. 
Selected  for  Exhibition  at  the  B.  F.  A.  C.  With  introductory  remarks  by  a  member 
of  the  Club  (Francis  Seymour  Haden).   London.  1877.  40. 

London,  British  Museum.  Guide  to  an  Exhibition  of  Drawings  and  Etchings  by  Rem- 
brandt, and  Etchings  by  other  Masters,  in  the  British  Museum.  By  Sidney  Colvin. 
London.  1899.  8°.  (This  exhibition  and  guide  formed  the  original  basis  for  the  arrange- 
ment and  catalogue  made  by  A.  M.  Hind  which  I  have  followed  here.) 

Oxford,  University  Galleries.  Exhibition  of  the  Etchings  of  Rembrandt.  Catalogue. 
Oxford.  1895.  8°. 


58  Rembrandt  Exhibition 

Paris,  Bibliotheque  Nationale.  Exposition  d'oeuvres  de  Rembrandt.  Dessins  et  gravures. 
Mai-Juin,  1908.  Catalogue  redige  par  Frangois  Courboin,  Joseph  Guibert  and  P. 
Andre  Lemoisne.  Paris.  1908.  8°.  Dutuit  Collection  (Petit  Palais).  See  Rose 
Kingsley  and  Camille  Gronkowski.     Burlington  Magazine^  v.  p.  69. 

SELECTED  LIST  OF  WORKS  RELATING 
TO  THE  DRAWINGS 

A.       CATALOGUES 

Groot,  Cornells  Hofstede  de.  Die  Handzeichnungen  Rembrandts.  Versuch  eines  be- 
schreibenden  und  Kritischen  Katalogs.    Haarlem.  1906. 

See  also  I.  (a)  Dutuit,  1885;  I.  (b)  London,  British  Museum  Guide,  1899;  Paris,  Bibl. 
Nat.  Exposition,  Paris,  1908  (with  full  list  of  sale  catalogues);  III.  Vosmaer,  1868;  and 
Michel,  1893. 

B.       MISCELLANEOUS  BOOKS 

Bode,  Wilhelm.  Das  Handzeichnungwerk  Rembrandt's  herausgegeben  von  F.  Lippmann. 
Pr.  Jahrbuch,  IX.  (1888),  159. 

Bredius,  Abraham.  Die  Handzeichnungen  Rembrandt's.  Zeitschrift fur  bildende  Kunst, 
XXIV.  (1889),  125. 

Hindostan'sche  Teekeningen  in  Nederland  in  de  XVII  Eeuw.  Oud-Holland,  XXIX. 
(1911),  139. 

Seidlitz,  W.  von.  Rembrandt's  Zeichnungen.  Repertorium  fur  Kunstwissenschaft,  XVII, 
(1894),  116. 


SUBJECT   INDEX 

The  numbers  following  items  refer,  not  to  pages,  but  to  the 
titles  listed  in  the  catalogue 


Animals. 

Hog,  the.  204. 

Lion  Hunt,  the  Large.  181. 

Lion  Hunt,  the  Small,  (with  Two  Lions).  180. 

Lion  Hunt,  the  Small.  6. 

Two  Studies  of  Camels.  (Drawing).  M.  204. 

Classical,  Historical  or 
Allegorical  Compositions. 

Achilles  and  Briseis.  (Drawing).  M.  184. 

Allegorical  Piece  called  the  Phoenix.  295. 

Contrary  Fortune.  106. 

Danae  and  Jupiter  (the  smaller  plate).  44. 

Diana  Bathing.  42. 

Faustus,  Dr.,  in  his  Study  Watching  a  Magic  Disk. 

260. 
Four  Illustrations  to  a  Spanish  Book.  284. 
Hour  of  Death.  310. 
Jason  and  Creusa,  the  Marriage  of.  235. 
Jupiter  and  Antiope  (same  as  No.  44).  The  larger 

plate,  302. 
Medea:  or  the  Marriage  of  Jason  and  Creusa.  235. 
Phoenix,  Allegorical  Piece.  295. 
Youth  Surprised  by  Death.  165. 

Genre  Pieces. 

Beggars  Receiving  Alms  at  the  Door  of  a  House.  233. 

Beggar  Man  and  Beggar  Woman  Conversing.  7. 

Beggar  Standing,  Leaning  on  a  Stick.  9. 

Beggar  Seated  on  a  Hillock.  11. 

Beggar  With  a  Wooden  Leg.  12. 

Beggar  Man  and  Beggar  Woman  Coming  from  Be- 
hind a  Bank.  13. 

Beggar  in  a  High  Cap,  Standing  and  Leaning  on  a 
Stick.  15. 

Beggar,  old,  seated  with  his  Dog.  75. 

Beggar  with  a  Crippled  Hand  leaning  on  a  stick.  79. 

Beggar  Woman,  old,  with  a  Gourd.  80. 

Beggar  Woman,  asking  Alms.  219. 

Card  Player.  190. 

Fiddler,  the  Blind.  38. 

Flute  Player,  the.  200. 

Girl  with  a  Basket.  195. 

Golf  Player.  272. 

Goldsmith,  the.  285. 

Hurdy  Gurdy  Player  (Polander  Standing  with  his 
Arms  Folded).  138. 

Jews  in  Synagogue.  234. 

Leper,  the  ("Lazarus  Klap").  77. 

Man,  Old,  in  a  Cloak  and  Fur  Cap  Leaning  against 
a  Bank.  14. 


Man,  Old,  in  a  Turban  Standing  with  a  Stick.  314. 

Onion  Woman,  the.  76. 

Pancake  Woman,  the.  141. 

Peasant  Calling  Out.  1 14. 

Peasant,  ragged,  with  his  Hands  behind  Him,  holding 

a  Stick.  16. 
Peasant,  in  a  High  Cap  Standing,  Leaning  on  a  Stick. 

164. 
Peasant  with  his  Hands  behind  his  Back.  69. 
Peasant  Family  on  a  Tramp.  259. 
Peasant  Replying.  115. 

Philosopher  with  an  Hour  Glass  (woodcut).  354. 
Polander  Standing  with  Arms  Folded.  138. 
Polander  with  Plumed  Hat  and  Sabre  leaning  on  a 

Stick.  98. 
Quack  Salver,  the.  139. 
Rat  Killer,  the.  97. 
Shepherd,  the,  and  his  Family.  206. 
Spanish  Gypsy.  184. 
Strolling  Musicians,  the.  142. 
Student  at  a  Table  by  Candle  Light.  202. 
Three  Orientals.  183. 

Woman  Cutting  her  Mistress's  Toe  Nails.  312. 
Woman,  Old,  Fallen  Asleep  over  a  Book.  129. 

Landscapes. 

Amsterdam,  View  of.  176. 

Canal  with  an  Angler  and  Two  Swans.  238. 

Clump  of  Trees  with  a  Vista.  263. 

Cottage  and  Farm  Building  with  a  Man  Sketching. 

213. 
Cottage  with  a  White  Paling.  203. 
Gold  Weighers'  Field.  249. 
Landscape  with  a  Canal  and  a  Large  Boat.  239. 
Landscape  with  a  Canal  and  Vessel  under  Sail.  212. 
Landscape  with  a  Coach.  325. 
Landscape  with  a  Cottage  and  Hay  Barn.  177. 
Landscape  with  a  Cottage  and  a  Large  Tree.  178. 
Landscape  with  a  Cow  Drinking.  240. 
Landscape  with  a  Haystack  and  Flock  of  Sheep.  241. 
Landscape  with  a  Milkman.  242. 
Landscape  with  an  Obelisk.  243. 
Landscape  with  a  Road  Beside  a  Canal.  264. 
Landscape  with  a  Square  Tower.  245. 
Landscape  with  Trees,  Farm  Buildings,  and  a  Ruined 

Tower.  244. 
Omval,  View  of.  210. 
Six's  Bridge.  209. 
Small  Grey  Landscape  with  a  House  and  Trees  Beside 

a  Pool.  175. 
Three  Cottages.  246. 
Three  Trees.  205. 


6o 


Rembrandt  Exhibition 


Village  with  Two  Gabled  Cottages  on  a  Canal.  324. 
Windmill,  the  (known  as  "Rembrandt's  Mill").  179. 

Miscellaneous  Studies  and  Cross 
References. 

Art  Dealer:  Abraham  Francz.  291. 

"Burgomaster"  Six,  Jan.  228. 

Card  Player.  190. 

Girl  with  a  Basket.  195. 

Goldsmith,  the.  285. 

Goldsmith  and  Sculptor:  Jan  Lutma,  the  Elder.  290. 

Golf  Player.  272. 

"Great  Jewish  Bride",  Study  for  the.  361. 

Hebrew  Author,  Samuel  Ben  Israel  Manasseh.  146. 

Head  of  Rembrandt  and  Other  Studies.  90. 

Inspector  of  Medical  Colleges:  Arnold  Tholinx.  289. 

Jews  in  Synagogue.  234. 

Old  Man  in  Meditation  Leaning  on  a  Book.  218. 

Old  Man  Shading  His  Eyes  with  His  Hand.  169. 

Old  Woman  Fallen  Asleep  over  a  Book.  129. 

Oriental  Head,  the  Fourth.  134. 

Oriental  Head,  the  Third.  133. 

Painter:  Jan  Asselyn  ("Crabbetje").  227. 

Philosopher  with  an  Hour  Glass  (woodcut).  354. 

Physician,  Hebrew:  Ephraim  Bonus.  226. 

Preacher,  Mennonite,  Cornells  Claesz  Anslo.  187. 

Preacher,  Jan  Cornells  Sylvius,  1 1 1 ;  posthumous  por- 
trait, 225. 

Preacher,  Jan  Uytenbogaert.  128. 

Print  Seller:  Clement  de  Jonghe.  251. 

Professor  of  Medicine:  Jan  Antonides  van  der  Linden. 
268. 

Sheet  of  Studies  with  Woman  Lying  111  in  Bed.  163. 
with  Head  of  Rembrandt.  230. 

Miscellaneous  Studies. 

Shepherd  and  His  Family,  the.  206. 

Sketch  of  a  Man  in  a  Fur  Cap  and  Three  Views  of 
Woman  and  Baby.  (Drawing).  M.  190. 

Sketch  of  a  Tree  and  the  Upper  Part  of  a  Head  wear- 
ing a  Velvet  Cap.  155. 

Student  at  a  Table  by  Candle  Light.  202. 

Studies  of  a  Woman  Asleep  in  Bed.  (Drawing).  M. 
180. 

Three  Heads  of  Women,  one  lightly  etched  (Upper 
Head  Portrait  of  Saskia).  153. 

Three  Heads  of  Women,  one  asleep.  152. 

White  Negress,  the.  364. 

Woman  Asleep  in  a  Chair.  (Drawing).  M.  199. 

Writing  Master:  Lieven  Willemsz  van  Coppenol.  269; 
the  larger  plate,  300. 

Young  Woman  Reading.  113. 

Nude  Studies. 

Diana  Bathing.  42. 

Naked  Woman  Seated  on  a  Mound.  43. 


Negress  Reclining,  seen  from  Behind.  299. 

Nude  Woman  with  her  Feet  in  Water.  298. 

Man  Seated  before  a  Curtain.  220. 

Man  Sitting  on  the  Ground.  221. 

The  Bathers.  250. 

Two  Male  Figures.  222. 

Woman  Preparing  to  Dress  after  Bathing.  297. 

Woman  Sitting  Half  Dressed  Beside  a  Dutch  Stove. 

296. 
Woman  with  the  Arrow.  303. 

Portrait  Studies. 

Bust  of  a  Bald  Headed  Man  in  a  Fur  Cloak.  85. 

Bust  of  a  Man  with  Thick  Lips.  353. 

Bust  of  an  Old  Man  with  Flowing  Beard  and  White 

Sleeve.  26. 
Bust  of  an  Old  Man  with  Flowing  Beard,  Head 

Nearly  Erect.  48. 
Bust  of  an  Old  Man  with  Flowing  Beard,  Head  Bowed 

Down.  27. 
Bust  of  an  Old  Man  with  Flowing  Beard,  Head  in- 
clined three-quarters  right.  28. 
Bust  of  an  Old  Man  with  Fur  Cap  and  Flowing 

Beard.  49. 
Bust  of  an  Old  Man  with  a  Long  Beard:  Looking 

Down.  47. 
Bust  of  an  Old  Man  with  a  Square  Beard:  Wearing  a 

Jeweled  Velvet  Cap.  150. 
Bust  of  an  Old  Woman  in  Furred  Cloak  and  Heavy 

Head  Dress.  82. 
Bust  of  an  Old  Woman  in  a  High  Dress  Bound  Round 

the  Chin.  83. 
Bust  of  a  Young  Man  in  a  Cap.  65. 
Goldsmith,  The.  285. 
Great  Jewish  Bride,  the  (Saskia?).  127. 
Man  at  a  Desk  Wearing  a  Chain  and  Cross.  189. 
Man  in  a  Broad-brimmed  Hat  and  Ruff.  158. 
Man  Standing  in  Oriental  Costume  and  Plumed  Fur 

Cap.  93. 
Old  Bearded  Man  in  High  Fur  Cap.  130. 
Old  Man  in  Meditation  Leaning  on  a  Book.  218. 
Old  Man  Seated,  with  Flowing  Beard,  Fur  Cap  and 

Velvet  Coat.  92. 
Old  Man  Shading  His  Eyes  with  His  Hand.  169. 
Old  Man  with  a  Divided  Fur  Cap.  170. 
Portrait  of  a  Boy  in  Profile.  188. 
Rembrandt's  Father  (?):  Bald  Headed  Man  in  Profile 

to  Right.  23  and  24. 
Rembrandt's  Father  (?):  Bust  of  a  Beardless  Man  in 

a  Fur  Cloak  and  Cap,  looking  down.  84. 
Rembrandt's  Father  (?):  Bust  of  a  Man  in  Full  Face. 

21. 
Rembrandt's  Father  (?):  Bust  of  a  Man  Wearing  a 

High  Cap.  22. 
Rembrandt's  Father  (?):  Man  with  Short  Beard  in 

High  Fur  Cap.  53. 


Subject  Index 


61 


R embrandt  's  Father  (?) :  The  First  Oriental  Head.  1 3 1 . 
Rembrandt's  Father  (?):  The  Second  Oriental  Head. 

132. 
Saskia  (?)  (the  Great  Jewish  Bride).  127. 
Saskia  as  St.  Catherine  (the  little  Jewish  Bride).  154. 
Saskia  and  Three  Heads  of  Women.  153. 
Sketch  of  a  Woman 's  Head  and  of  a  Woman  Holding 

a  Baby.  (Drawing).  M.  179. 
Studies  of  Six  Heads,  with  Portrait  of  Saskia.  145. 
Studies  of  Five  Heads  (drawing).  M.  I. 
Third  Oriental  Head.  133. 
Young  Man  Musing.  151. 
Young  Man  with  Long  Hair  Wearing  Mezzetin  Cap 

(the  "Fourth  Oriental  Head")-  134- 
Young  Woman  Reading.  113. 

Religious  Compositions. 

Abraham  Caressing  Isaac.  148. 

Abraham  Entertaining  the  Angels.  286. 

Abraham's  Sacrifice.  283. 

Abraham  Sending  Away  Hagar  and  Ishmael.  149. 

Abraham  Sending  away  Hagar.  (Drawing).  M.  195. 

Abraham  Speaking  to  Isaac.  214. 

Adam  and  Eve.  159. 

after  the  Fall.  (Drawing).  M.  186. 

Adoration  of  the  Shepherds  (night  piece).  255. 

Agony  in  the  Garden,  the.  293. 

Angel  Appearing  to  the  Shepherds,  the.  120. 

Angel  Departing  from  Tobit  and  His  Family.  185 
and  M.  197.  (Drawing). 

Baptism  of  the  Eunuch.  182. 

Christ  Before  Pilate  (large  plate).  143. 

Christ  Carried  to  the  Tomb.  21 5. 

Christ  Crucified  Between  Two  Thieves.  270. 

Christ  Disputing  with  the  Doctors  (larger  plate).  257. 

Christ   and   the   Disciples   at   Emmaus    (the  larger 
plate).  282. 

Christ  and  His  Parents  Returning  from  Jerusalem. 
278. 

Christ  and  the  Woman  of  Samaria.  122. 

Christ  and  the  Woman  of  Samaria.  294. 

Christ  at  Emmaus  (the  small  plate).  121. 

Christ  Driving  the  Money  Changers  from  the  Tem- 
ple. 126. 

Christ  Healing  the  Sick  ("hundred  guilder"  print). 
236. 

Christ  Preaching  ("La  petite  tombe").  256. 

Christ  Seated  Disputing  with  the  Doctors.  277. 

Christ  Mocked.  (Drawing).  M.  189. 

Circumcision,  the:  (small  upright  plate).  19. 

Circumcision,  the.  (In  the  Stable).  274. 

Crucifixion  (small  oval  plate).  173. 

Crucifixion  (small  plate).  123. 

David  in  Prayer.  258. 

Descent  from  the  Cross  (Sketch).  199. 

Descent  from  the  Cross  by  Torchlight.  280. 

Descent  from  the  Cross  (large  plate).  103. 


Entombment,  the.  281. 

Esther  and  Mordecai.  (Drawing).  M.  196. 

Flight  into  Egypt:  Holy  Family  Crossing  a  Brook. 

276. 
Flight  into  Egypt  (in  Style  of  Elsheimer).  266. 
Flight  into  Egypt  (night  piece).  253. 
Flight  into  Egypt  (small  plate).  105. 
Flight  into  Egypt  (a  sketch).  17. 
Good  Samaritan,  the.  101. 
Holy  Family  "with  the  Serpent".  275. 
Holy  Family,  the  Virgin  with  a  Basket  of  Linen.  95. 
Jacob  Lamenting  the  Supposed  Death  of  Joseph.  104. 
Jacob's  Dream.  (Drawing).  M.  187. 
Joseph  Telling  His  Dreams.  160. 
Joseph  Interpreting  the  Dreams  of  the  Officers  of 

Pharaoh.  (Drawing).  M.  185. 
Joseph  and  Potiphar's  Wife.  118. 
Lazarus,  the  Raising  of  (smaller  plate).  198. 

(larger  plate).  96. 
Mordecai,  the  Triumph  of.  172. 
Nativity,  the.  273. 
Peter  and  John  Healing  the  Cripple  at  the  Gate  of 

the  Temple.  301. 
Presentation  in  the  Temple,  the.  279. 
Presentation  in  the  Vaulted  Temple  (oblong  plate).  162. 
Presentation  in  the  Temple  (with  the  Angel):  small 

plate.  18. 
Prodigal  Son,  the  Return  of  the.  147. 
Rest  on  the  Flight.  216. 
Rest  on  the  Flight  (night  piece).  208. 
St.  Francis  Praying  Beneath  a  Tree.  292. 
St.  Jerome  Kneeling  in  Prayer:  arched  plate.  94. 
St.  Jerome  Kneeling  in  Prayer.  140. 
St.  Jerome  Meditating  in  a  Dark  Chamber.  201. 
St.  Jerome  Reading  in  an  Italian  Landscape.  267. 
St.  Jerome  Reading  Beside  a  Pollard  Willow.  232. 
St.  Jerome  Sitting  at  the  Foot  of  a  Tree,  Reading.  119. 
St.  John  the  Baptist,  the  Beheading  of,  171  and  308. 
St.  Stephen,  the  Stoning  of.  125. 
Thomas,  the  Incredulity  of.  237. 
Tobit,  the  Blindness  of  (larger  plate).  252  and  M.  183 

(Drawing). 
Tobit  Receiving  his  Father's  Blessing.  (Drawing). 

M.  193. 
Tribute  Money,  the.  124. 
Virgin  and  Child  in  the  Clouds.  186. 
Virgin,  the  Death  of.  161  and  M.  181  (Drawing). 
Virgin  with  a  Basket  of  Linen  (the  Holy  Family).  95. 

Self  Portraits. 

Rembrandt  with  a  Fur  Cap  and  Light  Dress.  29. 
Rembrandt  Grimacing.  30. 
Rembrandt  with  Mouth  Open  as  if  Shouting.  31. 
Rembrandt  with  Staring  Eyes.  32. 
Rembrandt  with  Bushy  Hair  and  Small  White  Collar. 
33- 


62 


Rembrandt  Exhibition 


Rembrandt  in  a  Cap,  Laughing.  34. 

Rembrandt  with  Turned  up  Hat  and  Embroidered 

Mantle.  54. 
Rembrandt  with  Long  Bushy  Hair:  Head  Only.  55. 
Rembrandt  in  a  Round  Fur  Cap.  56. 
Rembrandt  with  Moustaches  and  Short  Beard.  57. 
Rembrandt  with  Cap  Pulled  Forward.  58. 
Rembrandt  in  a  Slant  Fur  Cap  and  Robe.  62. 
Rembrandt  in  a  Mantle  and  Cape.  63. 
Rembrandt  in  a  Fur  Cap  and  a  Dark  Cloak.  66. 
Rembrandt,  head  of,  and  Other  Studies.  90. 
Rembrandt  in  Cap  and  Scarf.  108. 
Rembrandt  with  Drawn  Sabre.  109. 
Rembrandt  with  a  Sabre  and  Plumed  Cap.  no. 
Rembrandt  and  his  Wife  Saskia.  144. 
Rembrandt  in  a  Velvet  Cap  and  Plume.  156. 
Rembrandt  in  a  Flat  Cap.  1 57. 
Rembrandt  leaning  on  a  Stone  Sill.  168. 
Rembrandt  drawing  at  a  Window.  229. 
Rembrandt,  head  of,  with  Other  Studies.  230. 
Rembrandt  with  Falcon.  304. 
Artist  Drawing  from  a  Model:  unfinished  plate.  231. 

Single  Portraits. 
Anslo,  Cornells  Claesz  (Mennonite  Preacher).  187. 
Asselyn,  Jan  ("Crabbetje"):  Painter.  227. 
Bonus,  Ephraim  (Hebrew  Physician).  226. 
Francz,  Abraham  (Art  Dealer).  291. 
Haaring,  Jacob  (the  "Old  Haaring").  287. 
Haaring,  Thomas  Jacobsz  (the  "Young  Haaring"). 

288. 
Jonghe,  Clement  de  (Print  Seller).  251. 


Lutma,  Jan,  the  Elder  (Goldsmith  and  Sculptor).  290. 

Manasseh,  Samuel  Ben  Israel  (Hebrew  Author).  146. 

Rembrandt's  Mother:  Head  and  Bust,  three-quar- 
ters. 1. 

Rembrandt's  Mother:  Head  Only,  full  face.  2. 

Rembrandt's  Mother  holding  Her  Hand  to  Her 
Chest.  50. 

Rembrandt's  Mother  with  a  Black  Veil.  52. 

Rembrandt's  Mother  in  a  Cloth  Head  Dress.  107. 

Rembrandt's  Mother  seated  facing  right,  in  an  Ori- 
ental Head  Dress,  showing  hands.  51. 

Rembrandt's  Mother  in  Widow's  Dress  and  Black 
Gloves.  91. 

Saskia  with  Pearls  in  her  Hair  (Rembrandt's  Wife). 
112. 

Saskia  and  Rembrandt.  144. 

Saskia  and  Studies  of  Six  Heads.  145. 

Six,  Jan  (usually  called  "Burgomaster"  Six).  228. 

Sylvius,  Jan  Cornells  (Preacher),  in;  and  Posthumous 
Portrait.  225. 

Tholinx,  Arnold  (Inspector  of  Medical  Colleges).  289. 

Titus  van  Ryn  (Rembrandt's  Son).  261. 

Uytenbogaert,  Jan  (Preacher).  128. 

Uytenbogaert,  Jan,  Receiver-General  (the  "Gold- 
weigher").  167. 

van  Coppenol,  Lieven  Willemsz  (Writing  Master). 
269;  and  the  larger  plate,  300. 

van  der  Linden,  Jan  Antonides  (Professor  of  Medi- 
cine). 268. 

Still  Life. 

Shell,  the:  First  and  Second  States.  248. 


SAN  FRANCISCO 
I92O 


